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OPERA REVIEW: Il trovatore, Royal Opera House
There was a great deal to cheer over: conductor Carlo Rizzi and Dmitri Hvorstovsky as villain Count di Luna both…
THEATRE REVIEW: Death and the Kings Horseman, National Theatre
Director Rufus Norris spent considerable time rehearsing in Oyo and he and choreographer Javier DeFrutos make full use of Yoruba…
THEATRE REVIEW: The Winters Tale, Royal Shakespeare Company
David Farr’s RSC production, currently at the Courtyard Theatre in Stratford-on-Avon, is a play of two halves. Greg Hicks gives…
THEATRE REVIEW: Billy Twinkle, Requiem for a Golden Boy
Ronnie Burkett is a Canadian master marionettiste who writes, directs, builds all the puppets and sets for and does all…
THEATRE REVIEW: The Tempest, Royal Shakespeare Company
One of the reasons why Shakespeare’s plays have remained so attractive to modern audiences is the vast array of possibilities…
THEATRE REVIEW: Deep Cut, The Tricycle Theatre
A simple living room set and the confessional, conversational tone of the writing combine to achieve something that is beyond…
THEATRE REVIEW: Burnt by the Sun, National Theatre
Chekhov’s name is mentioned in the dialogue and serves to underpin a particularly Russian form of nostalgia that could be…
OPERA REVIEW: Carmen, Royal Albert Hall
The four-act opera unfolded within the brilliantly recreated Iberian settings of Seville and was staged on a round platform that…
THEATRE REVIEW: England People Very Nice, National Theatre
Richard Bean’s England People Very Nice, directed by Nicholas Hytner at the National Theatre, is intended to reveal the absurdity…
THEATRE REVIEW: The Taming of the Shrew, Royal Shakespeare Company
The prologue is set in a present day pole-dancing bar and allows Morrison to frame the rest of the action…
