Aliya Al-Hassan

Nadia Fall is now firmly ensconced in her role as Artistic Director of the Young Vic, but her final show at Stratford East back in 2024 was a brilliantly…

First seen 45 years ago, the Olivier Award-winning Jeeves Takes Charge returns to London for a short season at the Charing Cross Theatre. This one-man…

One of the assured highlights of the Proms in recent years has been the appearance of the Aurora Orchestra, conducted by Nicholas Collon, which explores a…

Richard Strauss's opera within an opera, Ariadne aux Naxos, is a curious beast: a hybrid of spoken word and singing, a mix of musical influences and…

Review: SWAN LAKE, State Ballet of Georgia, London Coliseum

Ahead of English National Ballet’s performances of Sir Kenneth MacMillan’s The Sleeping Beauty at the Royal Albert Hall, set designer Charlotte MacMillan discusses drawing on centuries of theatre design, using projection to create a sleeping palace suspended in time, and what it means to help bring her father’s celebrated production to a new generation of audiences.

Review: WAR HORSE, National Theatre

Joe Penhall's incendiary play, Blue/Orange, was garlanded with awards after its 2000 debut at the National Theatre, winning the Olivier, Critics' Circle and Evening Standard awards for Best New Play in 2001. It has been revived many times and endures as its themes remain both prescient and urgent. Now the tiny OSO Arts Centre in Barnes plays host, and it is as intense and provocative as ever.

The puppet show pumped full of profanity is back. Jason Moore's outrageous Avenue Q premiered in the West End two decades ago, bringing issues such as racism, the housing crisis and youth identity crisis to the stage in a unique and incredibly clever format. Oh yes, and there is explicit puppet sex too.

Today we are wearily familiar with the terms 'Stop the Boats' and the narrative that all refugees are coming to Britain to take 'our' jobs, scam us for…