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• Till the Stars Come Down, Theatre Royal Haymarket review - a family hilariously and tragically at war
• Nye, National Theatre review - Michael Sheen's full-blooded Bevan returns to the Olivier
• theartsdesk at the Ravenna Festival 2025 - Cervantes, Beethoven and Byron transfigured
• Girl From The North Country, Old Vic review - Dylan's songs fail to lift the mood
• The Merry Wives of Windsor, Shakespeare's Globe review - hedonistic fizz for a summer's evening
• Run Sister Run, Arcola Theatre review - emphatic emotions, overwrought production
• Intimate Apparel, Donmar Warehouse review - stirring story of Black survival in 1905 New York
• Hercules, Theatre Royal Drury Lane review - new Disney stage musical is no 'Lion King'
• Showmanism, Hampstead Theatre review - lip-synced investigation of words, theatricality and performance
• 4.48 Psychosis, Royal Court review - powerful but déjà vu
• Joyceana around Bloomsday, Dublin review - flawless adaptations of great dramatic writing
• Stereophonic, Duke of York's Theatre review - rich slice of creative life delivered by a 1970s rock band
• North by Northwest, Alexandra Palace review - Hitchcock adaptation fails to fly
• Hamlet Hail to the Thief, RSC, Stratford review - Radiohead mark the Bard's card
• The King of Pangea, King's Head Theatre review - grief and hope, but no connection
• A Midsummer Night's Dream, Bridge Theatre review - Nick Hytner's hit gender-bender returns refreshed
• Miss Myrtle’s Garden, Bush Theatre review - flowering talent, but needs weeding
• Fiddler on the Roof, Barbican review - lean, muscular delivery ensures that every emotion rings true
• In Praise of Love, Orange Tree Theatre review - subdued production of Rattigan's study of loving concealment
• Letters from Max, Hampstead Theatre review - inventively staged tale of two friends fighting loss with poetry
• Elephant, Menier Chocolate Factory review - subtle, humorous exploration of racial identity and music
• This is My Family, Southwark Playhouse - London debut of 2013 Sheffield hit is feeling its age
• The Frogs, Southwark Playhouse review - great songs save updated Aristophanes comedy
• Mrs Warren's Profession, Garrick Theatre review - mother-daughter showdown keeps it in the family
• The Crucible, Shakespeare's Globe review - stirring account of paranoia and prejudice
• The Fifth Step, Soho Place review - wickedly funny two-hander about defeating alcoholism
• The Deep Blue Sea, Theatre Royal Haymarket review - Tamsin Greig honours Terence Rattigan
• The Brightening Air, Old Vic review - Chekhov jostles Conor McPherson in writer-director's latest
• 1536, Almeida Theatre review - fast and furious portrayal of women in Henry VIII's England
• The Comedy About Spies, Noel Coward Theatre review - 'Goes Wrong' team hit the spot again
• Album: The Near Jazz Experience - Tritone
• Billie Eilish, O2 review - power, authenticity and deep connection
• Album: Kokoroko - Tuff Times Never Last
• Music Reissues Weekly: Beggars Arkive - Gary Numan's 1979 John Peel session
• Album: Wet Leg - moisturizer
• Album: Tami Neilson - Neon Cowgirl
• The Estonian Song and Dance Celebration 2025 review - the mass expression of freedom
• Album: Mark Stewart - The Fateful Symmetry
• First Person: country singer Tami Neilson on the superpower of sisterhood
• Album: Gwenno - Utopia
• Sabrina Carpenter, Hyde Park BST review - a sexy, sparkly, summer phenomenon
• Album: Olafur Arnalds and Talos - A Dawning
• Music Reissues Weekly: Motörhead - The Manticore Tapes
• Album: Barry Can't Swim - Loner
• Glastonbury Festival 2025: Five Somerset summer days of music, controversy and beautiful mayhem
• Album: Kesha - .
• Album: Claudia Brücken - Night Mirror
• Album: Mocky - Music Will Explain (Choir Music Vol. 1)
• Album: Brìghde Chaimbeul - Sunwise
• Music Reissues Weekly: Rupert’s People - Dream In My Mind
• Album: JF Robitaille & Lail Arad - Wild Moves
• Album: Lorde - Virgin
• Album: Bruce Springsteen - Tracks II: The Lost Albums
• Brad Mehldau Trio, St George's Bristol review - exquisite intelligence
• Ian Leslie: John and Paul - A Love Story in Songs review - help!
• Album: BC Camplight - A Sober Conversation
• theartsdesk on Vinyl 91: Sex Pistols, Pink Floyd, Tropical Fuck Storm, Sparks, The Sisters of Mercy and more
• Album: Durand and the Indications - Flowers
• Music Reissues Weekly: The Sonics - High Time
• Album: Benson Boone - American Heart
• S/HE IS STILL HER/E - The Official Genesis P-Orridge Documentary review - a shapeshifting open window onto a counter-cultural radical
• Blu-ray: Heart of Stone
• Superman review - America's ultimate immigrant
• The Other Way Around review - teasing Spanish study of a breakup with unexpected depth
• The Road to Patagonia review - journey to the end of the world
• theartsdesk Q&A: actor Emma Mackey on 'Hot Milk' and life education
• Blu-ray: A Hard Day's Night
• Hot Milk review - a mother of a problem
• The Shrouds review - he wouldn't let it lie
• Jurassic World Rebirth review - prehistoric franchise gets a new lease of life
• Sudan, Remember Us review - the revolution will be memorised
• theartsdesk Q&A: director Andreas Dresen on his anti-Nazi resistance drama 'From Hilde, with Love'
• Chicken Town review - sluggish rural comedy with few laughs (and one chicken)
• F1: The Movie review - Brad Pitt rolls back the years as maverick racer Sonny Hayes
• Bleak landscapes and banjos: composer Bernard Hughes discusses his score for 'Chicken Town'
• 28 Years Later review - an unsentimental, undead education
• Red Path review - the dead know everything
• Blu-ray: Darling
• Tornado review - samurai swordswoman takes Scotland by storm
• Lollipop review - a family torn apart
• Jane Austen Wrecked My Life review - persuading us that the French can do you-know-who
• Big Star: The Nick Skelton Story review - the ways of a man with his mount
• Ballerina review - hollow point
• Goebbels and the Führer review - behind the scenes from the Nazi perpetrators' perspective
• Blu-ray: Eclipse
• The Ballad of Wallis Island review - the healing power of the old songs
• The Salt Path review - the transformative power of nature
• Bogancloch review - every frame a work of art
• When the Light Breaks review - only lovers left alive
• Blu-ray: Strange New Worlds - Science Fiction at DEFA
• Falstaff, Glyndebourne review - knockabout and nostalgia in postwar Windsor
• Salome, LSO, Pappano, Barbican review - a partnership in a million
• Semele, Royal Opera review - unholy smoke
• Le nozze di Figaro, Glyndebourne review - perceptive humanity in period setting
• Fidelio, Garsington Opera review - a battle of sunshine and shadows
• Dangerous Matter, RNCM, Manchester review - opera meets science in an 18th century tale
• Mazeppa, Grange Park Opera review - a gripping reassessment
• Saul, Glyndebourne review - playful, visually ravishing descent into darkness
• Così fan tutte, Nevill Holt Festival/Opera North review - re-writing the script
• La Straniera, Chelsea Opera Group, Barlow, Cadogan Hall review - diva power saves minor Bellini
• The Queen of Spades, Garsington Opera review - sonorous gliding over a heart of darkness
• The Flying Dutchman, Opera Holland Park review - into the storm of dreams
• Il Trittico, Opéra de Paris review - reordered Puccini works for a phenomenal singing actor
• Faust, Royal Opera review - pure theatre in this solid revival
• Pygmalion, Early Opera Company, Curnyn, Middle Temple Hall review - Rameau magic outside the opera house
• Parsifal, Glyndebourne review - the music flies up, the drama remains below
• Giulio Cesare, The English Concert, Bicket, Barbican review - 10s across the board in perfect Handel
• The Excursions of Mr Brouček, LSO, Rattle, Barbican review - sensuousness, fire and comedy in perfect balance
• Pimpinone, Royal Opera in the Linbury Theatre review - farce with a sting in its tail
• Die Walküre, Royal Opera review - total music drama
• Simon Boccanegra, Opera North review - ‘dramatic staging’ proves its worth
• Peter Grimes, Welsh National Opera review - febrile energy and rage
• Owen Wingrave, RNCM, Manchester review - battle of a pacifist
• Tales of Apollo and Hercules, London Handel Festival review - compelling elements, but a failed experiment
• La finta giardiniera, The Mozartists, Cadogan Hall review - blooms in the wild garden
• Der fliegende Holländer, Irish National Opera review - sailing to nowhere
• Die Zauberflöte, Royal Academy of Music review - first-rate youth makes for a moving experience
• Mansfield Park, Guildhall School review - fun when frothy, chugging in romantic entanglements
• Uprising, Glyndebourne review - didactic community opera superbly performed
• Help to give theartsdesk a future!
• 'We are bowled over!' Thank you for your messages of love and support
• Quadrophenia, Sadler's Wells review - missed opportunity to give new stage life to a Who classic
• The Midnight Bell, Sadler's Wells review - a first reprise for one of Matthew Bourne's most compelling shows to date
• Ballet to Broadway: Wheeldon Works, Royal Ballet review - the impressive range and reach of Christopher Wheeldon's craft
• The Forsythe Programme, English National Ballet review - brains, beauty and bravura
• Sad Book, Hackney Empire review - What we feel, what we show, and the many ways we deal with sadness
• Balanchine: Three Signature Works, Royal Ballet review - exuberant, joyful, exhilarating
• Romeo and Juliet, Royal Ballet review - Shakespeare without the words, with music to die for
• Help to give theartsdesk a future!
• Light of Passage, Royal Ballet review - Crystal Pite’s cosmic triptych powers back
• Vollmond, Tanztheater Wuppertal Pina Bausch + Terrain Boris Charmatz, Sadler's Wells review - clunkily-named company shows its lighter side
• Phaedra + Minotaur, Royal Ballet and Opera, Linbury Theatre review - a double dose of Greek myth
• Onegin, Royal Ballet review - a poignant lesson about the perils of youth
• Northern Ballet: Three Short Ballets, Linbury Theatre review - thrilling dancing in a mix of styles
• Best of 2024: Dance
• Nutcracker, English National Ballet, Coliseum review - Tchaikovsky and his sweet tooth rule supreme
• Matthew Bourne's Swan Lake, New Adventures, Sadler's Wells review - 30 years on, as bold and brilliant as ever
• Ballet Shoes, Olivier Theatre review - reimagined classic with a lively contemporary feel
• Cinderella, Royal Ballet review - inspiring dancing, but not quite casting the desired spell
• First Person: singer-songwriter Sam Amidon on working in Dingle with Teaċ Daṁsa on 'Nobodaddy'
• Akram Khan, GIGENIS, Sadler’s Wells review - now 50, Khan returns to his roots
• Maddaddam, Royal Ballet review - superb dancing in a confusing frame
• Pina Bausch’s The Rite of Spring/common ground[s], Sadler’s Wells review - raw and devastating
• Legacy, Linbury Theatre review - an exceptional display of black dance prowess
• Encounters, Royal Ballet review - exciting mixed bill with a gem of a premiere
• National Ballet of Canada, Sadler's Wells review - see this, and know what dance can do
• Nobodaddy, Teaċ Daṁsa, Dublin Theatre Festival review - supernatural song and dance odyssey
• Alice's Adventures in Wonderland, Royal Ballet review - big, bold and ultimately brash
• Resurgence, London City Ballet, Sadler’s Wells review - the phoenix rises yet again
• The Mad Hatter's Tea Party, ZooNation, Linbury Theatre review - a joyous celebration of differentness
• 'We are bowled over!' Thank you for your messages of love and support
• Sir Brian Clarke (1953-2025) - a personal tribute
• Emily Kam Kngwarray, Tate Modern review - glimpses of another world
• Kiefer / Van Gogh, Royal Academy review - a pairing of opposites
• Jenny Saville: The Anatomy of Painting, National Portrait Gallery review - a protégé losing her way
• Abstract Erotic, Courtauld Gallery review - sculpture that is sensuous, funny and subversive
• Edward Burra, Tate Britain review - watercolour made mainstream
• Ithell Colquhoun, Tate Britain review - revelations of a weird and wonderful world
• Rachel Jones: Gated Canyons, Dulwich Picture Gallery review - teeth with a real bite
• Yoshitomo Nara, Hayward Gallery review - sickeningly cute kids
• Hamad Butt: Apprehensions, Whitechapel Gallery review - cool, calm and potentially lethal
• Bradford City of Culture 2025 review - new magic conjured from past glories
• Bogancloch review - every frame a work of art
• Do Ho Suh: Walk the House, Tate Modern review - memories are made of this
• Ed Atkins, Tate Britain review - hiding behind computer generated doppelgängers
• Echoes: Stone Circles, Community and Heritage, Stonehenge Visitor Centre review - young photographers explore ancient resonances
• Hylozoic/Desires: Salt Cosmologies, Somerset House and The Hedge of Halomancy, Tate Britain review - the power of white powder
• Help to give theartsdesk a future!
• Mickalene Thomas, All About Love, Hayward Gallery review - all that glitters
• Interview: Polar photographer Sebastian Copeland talks about the dramatic changes in the Arctic
• Donald Rodney: Visceral Canker, Whitechapel Gallery review - absence made powerfully present
• Noah Davis, Barbican review - the ordinary made strangely compelling
• Best of 2024: Visual Arts
• Electric Dreams: Art and Technology Before the Internet, Tate Modern review - an exhaustive and exhausting show
• ARK: United States V by Laurie Anderson, Aviva Studios, Manchester review - a vessel for the thoughts and imaginings of a lifetime
• Vanessa Bell, MK Gallery review - diving into and out of abstraction
• Lygia Clark: The I and the You, Sonia Boyce: An Awkward Relation, Whitechapel Gallery review - breaking boundaries
• Mike Kelley: Ghost and Spirit, Tate Modern review - adolescent angst indefinitely extended
• Monet and London, Courtauld Gallery review - utterly sublime smog
• Michael Craig-Martin, Royal Academy review - from clever conceptual art to digital decor
• Interview: Quinteto Astor Piazzolla on playing in London and why Mick Jagger's a fan
• theartsdesk at the Ravenna Festival 2025 - Cervantes, Beethoven and Byron transfigured
• Classical CDs: Bells, birdsong and braggadocio
• Siglo de Oro, Wigmore Hall review - electronic Lamentations and Trojan tragedy
• Alfred Brendel 1931-2025 - a personal tribute
• Aldeburgh Festival, Weekend 2 review - nine premieres, three young ensembles - and Allan Clayton
• Schubertiade 3 at the Ragged Music Festival, Mile End review - five great musicians keep spirits soaring
• Immersive Night Music Show, Makita, Londinium Ensemble, World Heart Beat Embassy Gardens - multimedia musings on a midsummer night
• RNCM International Diploma Artists, BBC Philharmonic, MediaCity, Salford review - spotting stars of tomorrow
• Classical CDs: Bells, whistles and bowing techniques
• Monteverdi Choir, English Baroque Soloists, Suzuki, St Martin-in-the-Fields review - the perfect temperature for Bach
• Aldeburgh Festival, Weekend 1 review - dance to the music of time
• Dandy, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - a destination attained
• Hespèrion XXI, Savall, QEH review - an evening filled with laughter and light
• theartsdesk at the Dublin International Chamber Music Festival - musical revelations, nature beyond
• Müller-Schott, RSNO, Søndergård, Usher Hall, Edinburgh - spectacular Shostakovich to end the season
• Classical CDs: Cannons, culverts and mooching cattle
• Marwood, Crabb, Wigmore Hall review - tangos, laments and an ascending lark
• Dennis, RSNO, Dunedin Consort, Søndergård, Usher Hall, Edinburgh review - potted Ring and deep dive into history
• Batiashvili, LSO, Pappano, Barbican review - French and Polish narcotics
• Owen, Manchester Camerata, Takács-Nagy, Stoller Hall, Manchester review - more Mozart made in Manchester
• Josefowicz, LSO, Mälkki, Barbican review - two old favourites and one new one
• Classical CDs: Jelly Babies, porridge and kazoos
• Jean-Efflam Bavouzet, Wigmore Hall review - too big a splash in complete Ravel
• Karim Said, Leighton House review - adventures from Byrd to Schoenberg
• Stile Antico, Wigmore Hall review - a glorious birthday celebration
• Hallé, Elder, Bridgewater Hall, Manchester review - premiere of new Huw Watkins work
• First Person: young cellist Zlatomir Fung on operatic fantasies old and new
• Classical CDs: Chinese poetry, rollercoasters and old bookshops
• La Serenissima, Wigmore Hall review - a convivial guide to 18th century Bologna
• 'We are bowled over!' Thank you for your messages of love and support
• Summer Laugh review - five comics gear up for the Fringe
• Kieran Hodgson, Soho Theatre review - a love affair soured by Trump
• Sarah Silverman, Netflix Special review - finding the funny in losing a parent
• Dara Ó Briain, Soho Theatre Walthamstow review - master storyteller spins a family yarn
• Mr Swallow: Show Pony, Richmond Theatre review - magic tricks and mayhem
• Zoe Lyons, Touring - midlife, without the crisis
• Greg Davies, Brighton Dome review - chocolate bars and errant bumholes
• Marcus Brigstocke, Touring review - modern manhood laid bare
• Matt Forde, Touring review - politics, poo and Viagra
• Help to give theartsdesk a future!
• Harry Hill, Wilton's Music Hall review - madcap comic on terrific form
• Nina Conti: Whose Face Is It Anyway?, Brighton Dome review - a melee of jubilant spontaneity
• Amy Gledhill, Soho Theatre review - delightfully bawdy take on serious subjects
• Russell Howard Live at the Palladium review - feelgood philosophy with added smut
• Ben Elton, Duke of York's Theatre review - big subjects, big laughs
• Chris McCausland, Winchester Theatre Royal review - Strictly winner as cheerfully cynical as ever
• Gala Preview Show, De Montfort Hall review - Leicester Comedy Festival nicely teed up
• Best of 2024: Comedy
• Jamie Foxx, Netflix Special review - doctors and divine intervention
• Ricky Gervais, Touring review - new show, not-so new gags
• Kemah Bob, Soho Theatre review - Thailand, massage and mental health
• Natalie Palamides: Weer, Soho Theatre review - a romcom of two halves
• Kiri Pritchard-McLean, Brighton Dome review - a foster carer's tale
• Rose Matafeo, Arcola Theatre review - Starstruck star muses on love
• Ellen DeGeneres, Netflix Special review - no mea culpa and few jokes
• Joe Rogan, Netflix Special review - US podcaster leaves the controversy - and the jokes - at home
• Zoë Coombs Marr, Soho Theatre review - stock checks and spreadsheets
• Adam Sandler, Netflix Special - songs, silliness and deconstructing stand-up
• Blu-ray: Laurel and Hardy - The Silent Years
• Too Much, Netflix - a romcom that's oversexed, and over here
• Insomnia, Channel 5 review - a chronicle of deaths foretold
• Live Aid at 40: When Rock'n'Roll Took on the World, BBC Two review - how Bob Geldof led pop's battle against Ethiopian famine
• Hill, Sky Documentaries review - how Damon Hill battled his demons
• Outrageous, U&Drama review - skilfully-executed depiction of the notorious Mitford sisters
• Prost, BBC 4 review - life and times of the driver they called 'The Professor'
• The Buccaneers, Apple TV+, Season 2 review - American adventuresses run riot in Cornwall
• The Gold, Series 2, BBC One review - back on the trail of the Brink's-Mat bandits
• Dept. Q, Netflix review - Danish crime thriller finds a new home in Edinburgh
• The Rise and Fall of Michelle Mone, BBC Two - boom and bust in the lingerie trade
• Code of Silence, ITVX review - inventively presented reality of deaf people's experience
• The Bombing of Pan Am 103, BBC One review - new dramatisation of the horrific Lockerbie terror attack
• theartsdesk Q&A: Zoë Telford on playing a stressed-out psychiatrist in ITV's 'Malpractice'
• The Trunk, Netflix review - stylish, noir-ish Korean drama wrapped around a beguiling love story
• Malpractice, ITV1, Series 2 review - fear and loathing in the psychiatric unit
• Fake, ITV1 review - be careful what you wish for
• Formula E: Driver, Prime Video review - inside the world's first zero-carbon sport
• Flintoff, Disney+ review - tumultuous life and times of the great all-rounder
• Your Friends & Neighbors, Apple TV+ review - in every dream home a heartache
• MobLand, Paramount+ review - more guns, goons and gangsters from Guy Ritchie
• This City is Ours, BBC One review - civil war rocks family cocaine racket
• The Potato Lab, Netflix review - a K-drama with heart and wit
• Adolescence, Netflix review - Stephen Graham battles the phantom menace of the internet
• Drive to Survive, Season 7, Netflix review - speed, scandal and skulduggery in the pitlane
• A Cruel Love: The Ruth Ellis Story, ITV1 review - powerful dramatisation of the 1955 case that shocked the public
• Towards Zero, BBC One review - more entertaining parlour game than crime thriller
• Bergerac, U&Drama review - the Jersey 'tec is born again after 34 years
• A Thousand Blows, Disney+ review - Peaky Blinders comes to Ripper Street?
• Zero Day, Netflix review - can ex-President Robert De Niro save the Land of the Free?
• The White Lotus, Series 3, Sky Atlantic review - hit formula with few surprises but a new bewitching soundtrack
• 'We are bowled over!' Thank you for your messages of love and support
• Kelly Clancy: Playing with Reality - How Games Shape Our World review - how far games go back
• Rage 2 review – garish but great post-apocalyptic shooter
• World War Z review - bloodthirsty fun with the zombie apocalypse
• The Lego Movie 2 Videogame review - everything is not awesome
• Anthem review - singing praises? More like a cautious nod
• Crackdown 3 review - spectacular super-powered action that was great fun many years ago
• Battlefield V review - WWII on an epic scale
• Fallout 76 review - how to wreck a perfectly good legacy with one messy game
• Red Dead Redemption 2 review - the cowboy drama makes a triumphant return
• Call of Duty: Black Ops 4 review – less is more
• FIFA 19 review - the best just got a bit better
• Videogames: Design/Play/Disrupt, V&A review - gaming for all
• Marvel's Spider-Man review - fandom fodder at its finest
• h Club 100 Awards: Video games - pioneers with heart and soul
• Jurassic World Evolution review - manage a dinosaur theme park and make a killing
• Enter theartsdesk / h Club Young Influencer of the Year award
• Detroit: Become Human review – a robot story with real heart
• Win a Luxury Weekend for Two to celebrate Brighton Festival!
• God of War review - action adventure epic sets new standards
• Far Cry 5 review – forget the story and just go with the flow
• Metal Gear Survive review - staying alive shouldn't be such a slog
• EA Sports UFC 3 review - the art of fighting has never looked so good
• Best of 2017: Games
• Star Wars Battlefront II review - an opportunity missed
• Lego Marvel Super Heroes 2 review - more high-quality family entertainment
• Call of Duty: WWII review - war is an unpleasant business
• h.Club 100 Awards 2017: The Winners
• FIFA 18 review - as polished as football silverware
• Destiny 2 review - a worthy follow-up to the biggest game of a generation