Mert Dilek
Articles By Mert Dilek
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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Album of the Year 2024: Amelia Coburn - Between the Moon and...
I’ve known for some time that Ariel Sharratt & Matthias Kom’s Never Work is my Album of the Year. This lividly witty...
The Devil Wears Prada, Dominion Theatre review - efficient b...
It's second time only quasi-lucky for The Devil Wears Prada, the stage musical adaptation of the much-loved Meryl Streep film from 2006...
The Lord of the Rings: The War of the Rohirrim review - a mi...
Lauded by Auden, detested by Edmund Wilson, the Tolkien sagas have divided many from childhood onwards: for kids, they’re not quite pulpy enough...
Jesus & Mary Chain, O2 Institute, Birmingham - Reid Brot...
The Jesus and Mary Chain may have been around for some 40 years (albeit on and off), but the Reid brothers clearly have no intention of setting up...
Album: Ajukaja & Mart Avi - Death of Music
Death of Music was created in Estonia. Despite the English lyrics, directness is absent. Take the title track. “Drop the music” exhorts...
The Producers, Menier Chocolate Factory review - liberating...
There is something deliciously perfect about the timing of The Producers’ arrival at the Menier Chocolate Factory. In these...
La rondine, LSO, Pappano, Barbican review - sumptuous orches...
There are no battlement leaps or murderous vows, no pistols or daggers, not so much as a slight cough disturbs the serene plot of La rondine...
A Midsummer Night's Dream, RSC, Barbican review - visua...
Hermia is a headbutting punk with a tartan fetish, Oberon looks like Adam Ant and Lysander appears to have stumbled out of a Madness video. Yet...
L’étoile, RNCM, Manchester review - lavish and cheerful absu...
Emmanuel Chabrier’s L’étoile is not exactly a French farce, but it comes from a post-Offenbach era (1877 saw its premiere) when cheerful...