Jamie Harper in ‘La Turista: Café Duende’ Jan 23, 2013

La Turista: Café Duende, Morito, London

Jamie Harper’s site-specific performance evokes the Spanish civil war through words, food and wine

Rupert Everett and Freddie Fox in The Judas Kiss ©Manuel Harlan Jan 22, 2013

The Judas Kiss, Duke of York’s, London

Rupert Everett conveys Oscar Wilde’s wit, weariness and warmth in David Hare’s play, newly transferred to the West End

Metamorphosis by Franz Kafka, with Gísli Örn Gardarsson as Gregor Samsa ©Donald Cooper Jan 22, 2013

Metamorphosis, Lyric Hammersmith, London

This Kafka adaptation successfully distorts our sense of perspective and emphasises the story’s socio-political dimension

William Bonnet performs Leo at London International Mime Festival ©Heiko Kalmbach Jan 22, 2013

London International Mime Festival, Southbank Centre

Two contrasting shows – Leo and Plan B – explore our relationship to gravity to eye-opening effect

Alina Cojocaru and Jason Reilly perform Onegin The Royal Ballet ©Bill Cooper Jan 21, 2013

Onegin, Royal Opera House, London

The character of Tatiana is at the heart of John Cranko’s ballet, and Alina Cojocaru is one of the great interpreters of the role

La Réunification des deux Corées Jan 21, 2013

La Réunification des deux Corées, Odéon Théâtre de l’Europe, Paris

The world premiere of Joël Pommerat’s play showcases his knack for dark humour and capturing complex human relations

Karl Collins (Avery Harrison) and Jocelyn Jee Esien (Myra Harrison) in One Monkey Don't Stop No Show ©Tristam Kenton Jan 20, 2013

One Monkey Don’t Stop No Show, Tricycle Theatre, London

Don Evans’ comedy about a middle-class black household in Philadelphia is played here as a studio shoot of a 1970s sitcom

Adolf Hitler with Wagner’s granddaughters Verena (left) and Friedelind ©Mary Evans From MUSIC Jan 18, 2013

Blood, tears and musical scores

Alex Ross, whose book inspired ‘The Rest is Noise’ festival, talks about how war changed Europe’s musical landscape

Playwright Mark Ravenhill and director Roxana Silbert in Stratford-upon-Avon ©Craig Holmes Jan 18, 2013

Brecht on stage

Sarah Hemming looks at two new UK productions of the German playwright’s enduring work

Tamara Rojo ©David Sandison/Eyevine From FT MAGAZINE Jan 18, 2013

The Inventory: Tamara Rojo

‘Dance is a trade, it’s a skill, it’s something that no one can take away from me,’

Jan 18, 2013

No Quarter, Jerwood Theatre Upstairs, Royal Court, London

A plot bearing a sense of bereavement and its consequences, with a character having no choice but to face the world alone

From WORLD Jan 18, 2013

Bolshoi director attacked with acid

Filin undergoing emergency treatment amid fears he may have been blinded

Jan 17, 2013

Tchaikovsky Celebration, Lincoln Center, New York

New York City Ballet’s impressive Balanchine triple bill is imbued with a sense of wondrous mystery

Jan 17, 2013

Cat on a Hot Tin Roof, Richard Rodgers Theatre, New York

Anyone seeking a glimpse of Scarlett Johansson in a slip should hie to this watchable revival of the Tennessee Williams masterpiece

Jan 16, 2013

American Justice, Arts Theatre, London

Richard Vergette’s tale of crime, punishment and redemption is every bit as manipulative as the characters it portrays

Jan 15, 2013

The Silence of the Sea, Trafalgar Studio 2, London

The final instalment of the Donmar’s Trafalgar season is a sparse, skilfully acted adaptation of Vercors’ French Resistance text

Jan 15, 2013

Contemporary Dance Showcase, Japan Society, New York

This showcase featured young choreographers whose work is quirky and refreshingly local

Jan 15, 2013

Monkey Bars, Unicorn Theatre, London

A show that puts children’s words into adults’ mouths proves surprising, funny and poignant

From MUSIC Jan 14, 2013

Sydney Festival, Carriageworks

Beethoven played on a guitar and a reconceived ‘Othello’ were among the works performed over a weekend of blurred boundaries

Jan 14, 2013

Don Quichotte du Trocadéro, Théâtre National de Chaillot, Paris

With its sleazy hero and disjointed choreography, José Montalvo’s production serves both cast and audience badly