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Showing all Performing Arts news in Reviews
Chekhov’s name is mentioned in the dialogue and serves to underpin a particularly Russian form of nostalgia that could be characterised as naïve helplessness on the part of the rich when confronted with the ugly reality of life beyond the walls of their castles in the sky.
A simple living room set and the confessional, conversational tone of the writing combine to achieve something that is beyond both big and small screens.
Richard Bean’s England People Very Nice, directed by Nicholas Hytner at the National Theatre, is intended to reveal the absurdity of offensive stereotyping through ridicule.
The four-act opera unfolded within the brilliantly recreated Iberian settings of Seville and was staged on a round platform that allowed for the exquisite flamenco, acrobatic, fire juggling and other routines.
The prologue is set in a present day pole-dancing bar and allows Morrison to frame the rest of the action as a misogynistic fantasy in the mind of a dissolute drunk who finds himself playing Petruchio in a play within a play.
The songs in this musical are not tremendously catchy, but they are enjoyable, and Stage One performed them all well, though some of the cast’s voices left a lot to be desired.
It is clear that a great deal of thought and expense has gone into this production and it starts well at a blistering pace.
Cirque du Soleil presented a very surreal, intricate, professional and stunning show at the likewise stunning and perfectly transformed Royal Albert Hall.
The army of flatterers, sumptuous costumes and consequence free trysts with a bevy of beauties are all very well but it’s the way Francesco Meli sings the wonderful songs that makes the Duke the real hero in Verdi’s opera.
If Ibsen is for all time then it seems an odd decision to plonk him so precisely in one historical moment and overegg the pudding with enough uber-topical references to satisfy even the most ardent Life On Mars fans when it comes to period detail.
'Shun-Kin', Simon McBurney’s latest show for Complicite at the Barbican, is the Japanese story of servant Sasuke’s masochistic love for his beautiful, blind mistress the music teacher Shun-Kin. Sasuke takes his devotion so far that he eventually blinds himself, claiming to be at his happiest after his sight has gone.
In the hands of these skilled actors, the play succeeds in reaching a level of quality which from lesser performers might just about amuse an undemanding audience.
The play is a tangle in several senses: it is an ensemble piece performed in Arabic and Hebrew with English subtitles by Israeli and Arab actors, all of whom take on a number of roles as members of both Jewish and Palestinian communities.
Korngold’s score, expertly conducted by Ingo Metzmacher, is an intoxicating web of mournful longing and nostalgia: a dead city made of sound.
Surreal, funny, entertaining, imaginative - Primary Voices gives its audience an exclusive look into the minds of young Londoners, and you’ll be pleasantly surprised at what you find.
Mere minutes after the start of Tom Stoppard and Andre Previn’s Every Good Boy Deserves Favour at the National Theatre, it seems incredible that so many directors waste their time staging productions without one.
A Midsummer Night’s Dream is littered with arcane references to obscure concepts and ideas with which a modern audience may have difficulty. Gregory Doran’s current RSC production at London’s Novello Theatre does much - perhaps rather too much - to help.
Exotic in its discipline, this show is an extended and unusual object animation using the brushstrokes of Beijing opera.
This is punk theatre at its best. Marseille-based marionette circus Buchinger's Boot is a glorious, gluttonous junkyard of scavenged paraphernalia and butchered remains.
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