Hugh Pearman
Articles By Hugh Pearman
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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Nutcracker, English National Ballet, Coliseum review - Tchai...
No new production of a beloved old ballet can please everyone, and there is none more beloved, or more frequently produced, than ...
You Me Bum Bum Train, secret location review - a joyful mult...
This feels like the theatrical equivalent of being in a centrifuge – a wild, spinning ride...
The Tempest, Theatre Royal, Drury Lane review - Sigourney We...
Shakespeare must have relished the opportunities brought by the indoor...
Albums of the Year 2024: Mercury Rev - Born Horses
Born Horses remains as inscrutable as it was when it was issued in the summer. While it is about the search for enlightenment through...
Strike: The Ink Black Heart, BBC One review - protracted, co...
The man whose name sounds like a major aviation accident, private...
Albums of the Year 2024: Ca7riel & Paco Amoroso - Baño M...
My Spotify Wrapped this year is somewhat at odds with my Album of 2024. My ‘Van Life Folie Americana’ phase of Spring (presumably due to the...
Natasha, Pierre & the Great Comet of 1812, Donmar Wareho...
Broadway shows sometimes hit the West End like...
Messiah, Wild Arts, Chichester Cathedral review - a dynamic...
The Wild Arts Ensemble was founded by Orlando Jopling in 2022 to create a dynamic, pared-back style of performance in which, as he put it, the “...
Wallace & Gromit: Vengeance Most Fowl review - an old fo...
It’s difficult to believe that the last stop-motion ...