Oh joy, oh bliss, it is Nutcracker season again! Hordes of overdressed and overexcited children invade our theatres, much to the despair of those who know that the kids’ excitement and attention will fade as soon as they realise that neither the Mouse King nor the Sugar Plum Fairy can be incinerated by one of
On Ego is a lecture that turns into a nightmare. An amiable young neurologist, Alex, strolls on stage and addresses us on the subject of mind. He has a lab technician Derek (Robin Soans wearing a white coat and a lost gaze), who presents him with a bucket containing a brain. Alex picks up the
English National Opera’s production of Billy Budd originated in Wales seven years ago, and is also shared with Opera Australia. Neil Armfield is the producer, and the set design is by Brian Thomson. It is an hydraulic platform, which in Cardiff occupied the whole stage, but at the Coliseum leaves a lot of surrounding space
Each year the same thing happens. Each year we’re expected to suspend for a month the exercise of sound musical judgment as we’re engulfed, willingly or otherwise, in a deluge of Christmas Music. All of a sudden, banality in various guises becomes completely acceptable. Every church in the land that hasn’t descended to the satanic
A Christmas spirit hovers over Art of the Middle Ages at Sam Fogg (15d Clifford Street, W1, until 12 January), visible particularly in the Three Kings bearing gifts in the tiny 14th-century French ivory diptych, and in the green-winged stained-glass angel probably from the glazier who worked at Sées Cathedral, Orne in Normandy, around 1270–80.
