Alexander Cohen

On March 27, 2025, the Senate Banking Committee (Committee) held Paul Atkins’ confirmation hearing for Chairman of the U.S. Securities and Exchange...

In the recent film The Critic, the theatre reviewer Jimmy Erskine, as played by Ian McKellen, cannot be regarded as a shining example of his profession.

Poor John Dennis. In 1709, the playwright devised a novel technology to simulate thunder to accompany his drama Appius and Virginia. The play flopped and was promptly booted out of the theatre. To add salt to the wound, Dennis’s thunder-generating technique was stolen and inserted into a staging of Macbeth. He accused the producers of

Religion and class, the twin pillars of the prewar order, are crumbling to dust. Where to find meaning in the nihilism of the new post-war world?

Conceived in 1893 but silenced by censorship until 1925, Mrs Warren's Profession has grown only more incendiary in the hundred years since its first public performance.

Despite the growth of anti-Semitism in the UK, Jewish-orientated theatre has never felt so abundant – or so successful

Stage technology has come a long way since. Directors have a toybox of high-tech smoke and mirrors at their disposal.

Jordan Fein understands that Fiddler on the Roof is more than just Jews and jazz hands. For him, it’s as much a Greek tragedy that cuts to the heart of the human condition as much as it is a piece of summer escapism. Philip Roth infamously derided it as 'shtetl kitsch’. He might have retracted his comment if he saw Fein’s psychologically streamlined production, now proudly revived and armed with thirteen Olivier nominations.

There is a sequence in Stereophonic that is gorgeously goosebump-inducing. An unnamed British-American rock band are locking in to record their sophomore album.