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Showing all Archived news in Reviews
The Twelve Days of Christmas is effortlessly professional, slick and witty.
In Marina Carr’s new work The Cordelia Dream, for the Royal Shakespeare Company at Wilton’s Music Hall, an old man and his middle-aged daughter talk about art, music, murder, incest, jealousy, fear, death, despair and destiny. Among other things.
You do not need to know Tim Burton’s 1990 film to enjoy Matthew Bourne’s modern ballet.
Tracy Letts’ masterpiece comes in at almost 4 hours and it is hard to see how it could be made any shorter, such is the scope and ambition of this play.
I do not see the problem with ‘family shows’ exploring the stories’ darker strands. What are fairytales for if they do not serve as touchstones for children on the murky world that lies on the other side of adolescence?
It may seem a conflict of interests to denote historically authentic performance as groundbreaking and openminded, until you've been spun off your feet and into the air by the fantastical wild spirit of the OAE.
Following the classic story of Good v Evil, Lucha Libre’s masked wrestlers battled it out to win - not only the fights, but the affections of the raucous London crowd.
Catherine Wheels’ promenade production of Hansel and Gretel, currently at the Barbican, is anything but disappointing.
Zero is the story of one of hundreds of interrogation camps set up twenty years from now to extract information from detainees known only as ‘the others’.
Fast becoming one of London’s most exciting literary groups, Apples & Snakes is pushing the boundaries in poetry and spoken word. Tonight’s performance at Soho Theatre is no exception, featuring three highly talented and entertaining artists.
The dual company of the world-class ELISION Ensemble and featured Ricordi protégé, Perth composer Liza Lim, essentially transformed what might have been a generic compositional commemoration into an inevitable salute to the thriving face of Australian New Music.
Time has withered neither the opera nor this version of it. The props, costumes and sets are fantastic$$s$$ sitting in the auditorium is like being drawn into an astonishing picture perfect dream of the 19th century.
The eponymous hero of the RSC’s The Tragedy of Thomas Hobbes by Adriano Shaplin at Wilton’s Music Hall in London is bizarrely absent for large chunks of his own tragedy and when he appears he does little more than talk about himself - in the third person, of course.
Thursday 20 November saw the pre-launch of a temporary new hangout in London as the German artist Carsten Höller, known for his slide installation at Tate Modern last year, unveiled his new design.
Programme including Hambre (Compañia LA), The Canon for Duet (Chisato Minamimura Dance Company), Beautiful Dance (Albert Quesada and Vera Tussing), Illuminate Georgia (Helga Stromberger/Vilas Con Krilas)
Scott Walker's Drifting and Tilting at the Barbican Theatre last week was a consummate performance art miracle.
I do not know whether Enda Walsh is a dab hand in the kitchen but he’s introduced more than a touch of magic into Theatre O’s Delirium in the Pit at the Barbican.
I like Mozart and, as Cimarosa’s music has what Scottish Opera call a familiar Mozartian feel, I assumed that it would be safe territory. Alas, no.
Ralph Fiennes’ excellent performance at the National Theatre, as Sophocles’ Oedipus, completely captures the growing horror of the worst happening and there being absolutely nothing to be done to avert it.
The only problem with The Norman Conquests by Alan Ayckbourn at the Old Vic is deciding which to see first$$s$$ when you’ve seen one you have to see the other two.
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