Cher Public

Jon Taylor

Hard candy

In theatre, there are two types of tragedy. There’s the tearjerker (Romeo and Juliet, The Glass Menagerie) which leaves you wet-cheeked, cathartised and endorphinned, and there’s the sledgehammer (Antigone, Ghosts) where you sit dazed in your seat for five minutes after it finishes and don’t say much on the way home.  Read more »

Medium cool

A riddle, inside a mystery, wrapped in cashmere.

It’s a common criticism of Manon Lescaut , whether in the hands of Massenet or Puccini, that it’s hard to feel a lot of sympathy for the heroine in the light of her actions. How much harder, then, is the task Nico Muhly has set himself in presenting Winston Graham’s elusive heroine Marnie (and this is very definitely an adaptation of Graham,not Hitchcock) on the operatic stage?  Read more »

Queen of the damned

One from the vault

It’s a strange feeling, going to an opera that loads more people have heard than seen. To have seen Semiramide staged at the Royal Opera House before this season, you’d have to be over 120 years old, and a good many of the audience at tonight’s performance were younger than that.  Read more »