Markie Robson-Scott
Articles By Markie Robson-Scott
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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...
Bradford City of Culture 2025 review - new magic conjured fr...
Botanical forms, lurid and bright, now tower above a footpath on a moor otherwise famed for darkness and frankly terrible weather....
Album: Death In Vegas - Death Mask
A long time ago, in a galaxy far, far away called the late 1990s,...
La Straniera, Chelsea Opera Group, Barlow, Cadogan Hall revi...
Chelsea Opera Group has made its own luck in winning the devotion of two great bel canto exponents: Nelly Miricioiu between 1998 and 2010...
Dept. Q, Netflix review - Danish crime thriller finds a new...
Netflix’s new detective-noir is a somewhat cosmopolitan beast. It’s written and directed by an American, Scott Frank, derived from a novel, ...
The Queen of Spades, Garsington Opera review - sonorous glid...
Recent events have prompted the assertion – understandable in Ukraine – that the idea of the Russian soul is a nationalist myth. This production...
Blu-ray: Eclipse
What constitutes a “lost classic”? I guess we can’t say it’s an oxymoron, since we readily accept the concept of “instant classic”? Either way,...
The Ballad of Wallis Island review - the healing power of th...
I think The Ballad of Wallis Island is the best...
Music Reissues Weekly: Pete Shelley - Homosapien, XL-1
Pete Shelley’s departure from Buzzcocks felt abrupt. When he left the...
The Salt Path review - the transformative power of nature
“I can’t move my arms or legs, but apart from that I’m good to go.” Moth (Jason Isaacs) has to be pulled out of the tent in his sleeping bag by...