Following the enormous success of last year's VAULT Festival, Heritage Arts welcomes VAULT's triumphant return to the Leake Street tunnels for six frenetic weeks of live entertainment. From today, 28 January 2015 they will present a carefully curated, high quality multi-arts programme across seven different spaces under Waterloo station.
Following the enormous success of last year's VAULT Festival, Heritage Arts today announces the programme for VAULT's triumphant return to the Leake Street tunnels for six frenetic weeks of live entertainment. From 28 January 2015 they will present a carefully curated, high quality multi-arts programme across seven different spaces under Waterloo station.
THE ROOF, the brand new panoramic performance, directed by David Rosenberg (co-founder of Shunt) and Frauke Requardt in thier third collaboration following Electric Hotel (also a Fuel production) and Motor Show, begins today at Doon Street Car Park.
Tickets go on sale at 6.30pm on Monday 10 February for THE ROOF, the brand new panoramic performance, directed by David Rosenberg (co-founder of Shunt) and Frauke Requardt, their third collaboration following Electric Hotel (also a Fuel production) and Motor Show.
In DEATH IN VENICE - Thomas Mann's 1912 novella and Luchino Visconti's 1972 film starring Dirk Bogarde - von Aschenbach becomes increasingly obsessed by Tadzio, a beautiful youth. Although the two never speak, the boy is clearly aware of the older man's attention and a silent relationship grows between them that lasts until the writer's final day on the Lido beach.
In DEATH IN VENICE - Thomas Mann's 1912 novella and Luchino Visconti's 1972 film starring Dirk Bogarde - von Aschenbach becomes increasingly obsessed by Tadzio, a beautiful youth. Although the two never speak, the boy is clearly aware of the older man's attention and a silent relationship grows between them that lasts until the writer's final day on the Lido beach.
While nobody ever said musical theatre was easy – at least, nobody with any real knowledge of the art – you would think that in writing a musical about the first worldwide beloved figure of the 20th Century there wouldn't be too much trouble establishing empathy. But the surprisingly dry and emotionless Chaplin, presented in a respectably strong Broadway production, tries to cram so many facts into its two acts that there's Little Room left for feeling.
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