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Billy Budd, Glyndebourne Festival Opera, East Sussex, June 2026
The opera Billy Budd is adapted from Herman Melville’s unfinished novella, published posthumously in 1924, and is set entirely aboard HMS Indomitable. The opera was originally structured in four acts and received a respectful rather than ecstatic response at its 1951 premiere at the Royal Opera House, London, with Britten conducting, although it reportedly received fifteen curtain calls.
La Traviata, The Metropolitan Opera House, New York, April 2026
An acquaintance once said to me, “All beautiful things are Italian.” Her comment was made in jest, but also in acknowledgement of the abundance of beauty that has emanated from such a complicated and glorious country: its cuisine; its extraordinary artistic heritage, notably its painting, sculpture, architecture and music; and, more recently, its fashion and textiles. Italy has long beguiled the world as a creative force, and nowhere is that force more powerfully felt than in opera.
Jesus Christ Superstar, The Palladium, London, June 2026
One of Lloyd Webber’s greatest talents is creating work that makes the public feel they are experiencing high art. His “rock operas” — Jesus Christ Superstar and Evita — define the genre, combining the accessibility of popular music with the scale, seriousness and theatrical ambition associated with opera.
The Frick Collection, New York, April 2026
The Frick Collection has been an integral part of my relationship with New York since before I was old enough to drink alcohol legally in the city. Decades after my first visit, I still marvel at its collection and cherish the tranquillity within its walls. Housed in one of the Upper East Side’s last surviving Gilded Age mansions, directly across from Central Park, the Frick functions as an oasis: a place of beauty, stillness and nourishment for the soul.
Kainchee Lagaa, Buddies in Bad Times Theatre, Toronto, April 2026
Buddies has the distinction of being the largest and longest-running queer theatre company in the world. It was founded in 1979 and has weathered social change, right-wing governments, two pandemics — the AIDS crisis and COVID-19 — global financial crises and much more. Its resilience is a testament to its adaptability, strong leadership and the support of its local community.
Jhooti, Buddies in Bad Times Theatre, April 2026
Zaiba Baig and Buddies are perfectly matched; the authenticity of the artist is equalled by that of the venue. It is not often that one gets such a clear understanding of what a company is about — not through mission statements or promotional materials, but by what they do and how they do it. This is in stark contrast with the other theatre I visited in Toronto, Crow’s Theatre, where I left puzzled by every element of the experience. Buddies is unique not only in Toronto but also beyond its borders.
Stone the Crows: Crow’s Theatre and the Art Gallery of Ontario, Toronto, April 2026
One of the most disappointing things I experienced within the Toronto cultural scene was an abject failure to be outward-looking. Companies such as Crow’s Theatre seem unconcerned with engaging with anything beyond their doorstep, which raises the question: why is Crow’s Theatre producing work in 2026?
Schmigadoon!, Nederlander Theatre, New York, April 2026
Schmigadoon! is, in the best possible way, a classic musical comedy with a very modern and knowing sentiment at its heart, and this is partly what makes it so enjoyable. I moved from laughter to emotional investment with ease. The creators understand that, for the material to work, it needs to be more than a clever set-up; we must care about the characters: the protagonists and, at the very least, some of the townspeople.
Cats: The Jellicle Ball, Broadhurst Theatre, New York, April 2026
When Cats: The Jellicle Ball was announced, with the concept of setting the musical in the Harlem ballroom scene, I remarked to a friend that it was either the greatest idea I had heard or the dumbest.
The Lost Boys, Palace Theatre, New York, April 2026
The Lost Boys is very much a product of its era, and that is one of its strengths. The 1980s aesthetic fits the musical well: plenty of black leather, chains and ripped clothing. I do not know much about Santa Cruz, but the script tells us that it is — or was in 1987 — a rather forgotten and run-down small seaside city. I can imagine that many of its residents dress much the same in 2026 as they did in 1987.
Death of a Salesman, Winter Garden Theatre, New York, April 2026
Beyond being a play that just about everyone has heard of, even if they have never seen or read it at school, it is surprising that it is produced so frequently. Yes, it is one of the great plays of the 20th century: a work so groundbreaking in its construction that it could have been written today and still feel original.
The Balusters, Samuel J. Friedman Theatre, New York, April 2026
Lindsay-Abaire is a very good writer, and The Balusters is a well-constructed play, frothy yet meaty enough to satisfy the tastes of Broadway theatregoers. All of the characters are written with understanding and flair, and with a laser-like precision that slowly and expertly exposes their flaws.