Pianist borisgiltburg.bsky.social continues his Beethoven journey Wigmore Hall on Saturday evening, the slow movements of the Pathétique and Les Adieux sonatas showing the Fazioli at its best; otherwise tempos were brisk in the faster movements and much was lost in the process. Uneven.

Totally visionary presentation of Sophocles' Oedipus The Old Vic with a hugely engaging cast and an electrifying dance troupe in the role of chorus (never bettered). Despite the cavils of many critics this piece demands to be seen, awards to the designers, lighting team too.

A rather dreary evening Bridge Theatre as Richard II makes its way onto the stage in a presentation resembling a John Lewis AGM, not much majesty and much of the verse simply lost in the delivery. A shame really as this is one of Shakespeare's most perfect constructions. Hmmm

The troupe The RSC make the most of Edward II, some fine poetry but a sh*te play while Hamlet astonishes in its new guise, so much to admire: himself, Polonius, Ophelia and a special call out for Rosenkrantz. Meanwhile Donmar Warehouse Back Stroke underwhelms, silly, irritating.

Two absolutely superb presentations of late: The Seagull Barbican Centre & Rhinoceros Almeida Theatre - alchemical in every respect, acting of the highest order, impeccable direction and design, the best that theatre can offer. Alterations National Theatre silly, unconvincing.

Yunchan Lim the exceptional Korean pianist winner of the Van Cliburn, presents the Goldberg Variations Wigmore Hall and shows that no difficulty is beyond him, embellishing and ornamenting the music, bringing it to life in a way we haven't heard since Mr Gould, all 90 minutes!

Punch, a brilliant, energetic disturbing but ultimately redemptive piece now playing Young Vic where it has doubtless sold out. Superb performances from all concerned; along with Adolescence very much the issue of the day. A transfer looms apparently: see it immediately.

The Brightening Air by Conor McPherson makes its appearance on the stage The Old Vic laden with Irish caricature and taking an excessively long time to tell its not especially interesting story. Some fine performances though but he has written better plays: The Weir for one.

A brilliant reworking/re-imagining of Ibsen's Ghosts Lyric Hammersmith Theatre last evening, enormous roles for the key players, disturbing, insightful, pertinent and occasionally hilarious, this piece embraces many current themes and does so with great imagination, energy, verve and courage.

A brilliant adaptation/update of Ibsen's troublesome play The Master Builder Wyndham's Theatre London featuring several superb individual performances from a group of first class actors/actresses. The wheels start to wobble in the second half before coming off entirely at the end.

Mercifully only 45 minutes (55 minutes given the late start) for the well-named Krapp's Last Tape Barbican Centre with Stephen Rea. A case of emperor's new clothes as Beckett taunts and provokes his audience with a big fat nothing. Complete waste of time, tedious and shallow.

Hammed Animashaun the class act in Patrick Marber's faintly ridiculous Dealer's Choice now playing to audiences Donmar Warehouse - a number of other well crafted performances but the whole idea of the play seems absurd and inconceivable. Brilliant comic timing from HA though.

A blistering performance of Berlioz's unhinged but utterly brilliant Symphonie Fantastique #halfsixfix Barbican Centre on Wednesday evening a midweek highlight striking the right balance for regular classical audiences and those less familiar and presented without condescension.

An impeccable presentation of Verdi's great masterpiece (well, one of many) Simon Boccanegra Opera North Southbank Centre on Saturday, a pared down theatrical performance worked perfectly on the smaller stage, music making of the very highest quality and fairly priced tickets.

Under the surface of Titus Andronicus there is probably a better play trying to escape but on the evidence The RSC yesterday there was no sign of this. Missed as trick too as Tamora slaps Saturninus she should exclaim 'Mon President' not sweet emperor. Just a thought, amusing.

A strangely inert Midsummer Night's Dream Bridge Theatre despite valiant efforts from the mechanicals who were unfailingly brilliant - take a bow Lion, Wall and Bottom. The Athenian scenes and the lost lovers were somehow tiresome: such a brilliant production, this seemed odd.

A hugely enjoyable, entertaining evening @sohoplace as The Fifth Step makes its appearance on the stage with two of our most charismatic and engaging performers taking on the enormous roles required of them with great distinction, humour and pathos. An essential ticket.

Stunning presentation of Medea from the Shizuoka Performing Arts Centre The Coronet Theatre last week followed by a towering performance by Ruth Wilson in Eugene O'Neil's unstoppable Moon for the Misbegotten, a play that takes far too long to tell its not especially interesting tale.

Evita The London Palladium a triumph and a revelation to those of us not really convinced of its merits. Standing ovations for all not surprisingly. Less successful was Dead Poets Live The Coronet Theatre where the usual format was ditched for one less convincing, Yeats disappointed?

Despite a blistering central performance by Rosamund Pike last evening's presentation of Inter Alia National Theatre was a shrill and slight affair, predictable in its direction and heavy on caricature, hard to credit much of it to be honest, least of all the union of judge & KC.