alexandra coghlan
Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.
Articles By Alexandra Coghlan
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'We are bowled over!' Thank you for your messages...
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Joyceana around Bloomsday, Dublin review - flawless adaptati...
It amuses me that Dubliners dress up in Edwardian finery on 16 June. After all, this was the date in 1904 when James Joyce first walked out with...
Stereophonic, Duke of York's Theatre review - rich slic...
The tag “the most Tony-nominated play of all time” may mean less to London theatregoers than it does to New Yorkers, but Stereophonic,...
Ithell Colquhoun, Tate Britain review - revelations of a wei...
Tate Britain is currently offering two exhibitions...
Sarah Silverman, Netflix Special review - finding the funny...
Death can be a powerful driver for comedy...
Blu-ray: Darling
A look at Darling on its 60th anniversary offers a sobering reality check on the "...
Pulp, O2 Arena review - common people like us
Jarvis Cocker is proudly holding the No 1 trophy handed to him on the day Pulp topped the album chart for the first time in 27 years with More...
Mazeppa, Grange Park Opera review - a gripping reassessment
Tchaikovsky has precisely two operas in the standard repertoire (including The Queen of Spades, currently playing at Garsington), and...
Sam Fender, St James' Park, Newcastle review - Geordie...
Had a passer-by from outwith Newcastle been asked to guess...
Dandy, BBC Philharmonic, Storgårds, Bridgewater Hall, Manche...
The opening and closing concerts of a season tend to be statements of intent – to pursue a path of exploration or (latterly) to celebrate a...