Jonathan Kent
Much better than the film: Mrs Doubtfire, at Shaftesbury Theatre, reviewed
Mrs Doubtfire is a social comedy about divorce. We meet Miranda, a talentless, bitter mother, who tires of her caring…
Old-school excess, star power and spectacle: Royal Opera's Tosca reviewed
London felt like its old self on Friday night. Possibly it was just me; when you visit the capital once…
Rarely has the West End seen such a draining and nasty experience: The Exorcist reviewed
The Exorcist opened in 1973 accompanied by much hoo-ha in the press. Scenes of panic, nausea and fainting were recorded…
Glyndebourne’s Turn of the Screw: horrors of the most innocent and creepy kind
We all know that ‘They fuck you up your mum and dad’, but nowhere is this more reliably (and violently)…
Manon Lescaut: Puccini’s Anna Nicole?
This season has already seen Manon Lescaut appear in several different operatic guises across the UK, but it was Covent…
Two Mimi-Rodolfos at Opera North who go from nought to frisky very believably
Purists might have winced at Opera North’s advertisement for its latest revival of La Bohème. ‘If you see one musical…
If you're going to adapt a bestseller, don't choose the A-Z
What’s the quickest way to create a hit musical? Base it on a bestselling book. The writers of The A-Z…
Michael Tanner’s Glyndebourne experience is ruined by the traffic
What could be more delightful than going to Gyndebourne with someone who has never been before, arriving in time for…
