Alastair Macaulay
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Speak up! Why are so many theatres using microphones?
Alastair Macaulay
From our critic in residence Alastair Macaulay: One…
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How ballet in Japan became a British offshoot
Alastair Macaulay
From our critic in residence, Alastair Macaulay: …
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Best Proms review so far…
Alastair Macaulay
… comes from our critic in residence, Alastair…
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How can you sing Salome without a dance?
Alastair Macaulay
This week’s review of London performances by our…
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A tenor turns sixty, among other surprises
Alastair Macaulay
A weekly review from our critic-in-residence, Alastair Macaulay:…
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Alastair Macaulay: Disconcerting insincerity at Covent Garden
Alastair Macaulay
Our resident critic has spent his week at…
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Alastair Macaulay reviews a Shakespeare problem play
Alastair Macaulay
From our resident critic: How bizarre it is…
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Alastair Macaulay asks: Are we being amplified?
Alastair Macaulay
From our critic in residence: The ways in…
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Alastair Macaulay questions Salomettes at the Met
Alastair Macaulay
Our resident reviewer experiences Claus Guth’s production of…
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Alastair Macaulay reviews: Two plays about masculinity (Including Britten)
Alastair Macaulay
From our critic in residence, Alastair Macaulay reviews Patrick…
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Fred the Great said: I’ll get Bach to you
Alastair Macaulay
The Easter edition of our Alastair Macaulay Review:…
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Alastair Macaulay reviews: Cunning stunts from France
Alastair Macaulay
Ballet de Lyon at Sadler’s Wells – Merce…
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