Never my favourite ballet, Marius Petipa’s Don Quixote has always struck me as inexpressibly dull.
With 10 dancers, including one guest, stable management, and Arts Council funding that’s escaped the recent cuts, more is expected of Phoenix Dance Theatre than in its recent past.
Robin and his family have to move from their idyllic rural life to one in the big city, and understandably the young boy doesn’t want to go.
This year West Yorkshire Playhouse is offering an ambitious Christmas programme including the major musical White Christmas, a classic Roald Dahl for older children in James and the Giant Peach, plus Raymond Briggs’ Father Christmas for three to six-year-olds.
It is so fitting that one of Sylvie Guillem’s penultimate performances (she announced her retirement at the beginning of this month) should be a work of such personal effect.
Once first arrived in the West End in the immediate juggernaut wake of The Book of Mormon, so it inevitably slipped a little below the radar.
There’s nothing much to like about the people in Daniel Anderson’s strident debut Saxon Court and it nearly drowns under the weight of its own unpleasantness.
During the first of five essays on the voice and radio, recorded in October at London’s British Academy, actor and director Samuel West discusses how unforgiving a medium radio is.
The Gate Theatre’s Who Does She Think She Is? season continues with Suli Holum and Deborah Stein’s cerebral solo show, which premiered at the 2012 Under the Radar Festival in New York.
The hard-working Hotbuckle Productions is on an extensive tour with Persuasion but few venues could be more suitable than Great Yarmouth’s St George’s Theatre, a magnificent Wren-style 18th century chapel which adds so greatly to the atmosphere.
Wendy without Michael and John? Mr Darling without Mrs? Cross-dressing mermaids? One might consider all of this sacrilegious but it could not be more of a salute to JM Barrie’s endearing story.
Given that Morgan Lloyd Malcolm’s playwriting credits include a clutch of Lyric Hammersmith pantomimes, her new stage version of Lewis Carroll’s mad-as-a-hatter tale might be expected to re-locate 1860s Wonderland in Pantoland.
One of Samuel Beckett’s earlier novellas, First Love was originally written in 1946 but remained unpublished until 1973.
To a libretto by Peter Sellars based on the Old Testament, the New Testament, the medieval abbess Hildegard of Bingen and the writings of half a dozen politically active and mainly female 20th-century poets, John Adams’ passion oratorio premiered in concert in Los Angeles in 2012.
This spare and original resetting of Cinderella to Mousetown, where characters lend each other a paw, oozes charm and humour, as well as highlighting the talents of two highly accomplished puppeteers.