Alexander Cohen

In the second part of this legal update series, we summarize the key takeaways from the Division of Examinations’ (Division) 2025 priorities report

One for the Brecht completionists

We love watching a rich family crumble on stage. From Oedipus and his mother to Chekhov's families fractured by existential angst, to Ibsen's split by socio-politics paradigm shifts.

Don't be fooled. It's midwinter and a rotund man with a big white beard is centre stage. But this is no schmultz-fest panto.

A night as achingly monotone as it is aggressively monochrome? This is the stuff that nightmares are made of. I'll level with you.

French dramatist Jean Genet is a rarity on British stages, and I can see why. There are more popular writers that do what he does, only better. Genet’s 1947 The Maids is never stark enough to match the claustrophobic brutality of Beckett, nor darkly comic enough to out menace Pinter.

The most frequently asked question at all-hands meetings for a securities offering is “What financial statements will be needed?” The question seems...

It's a mistake to dismiss Claus Guth's production of Janacek's Jenůfa as symbolically overwrought and interminably grey.

A case of never being more than the sum of its parts, even if those parts have promise in themselves.

Shifting identities and hierarchies interweave like a spider’s web in Cymbeline. A pinch of added complication can’t hurt?