BWW Review: DENIS & KATYA, Southbank Centre
On 15 November, 2016, Russian teenagers Katya Vlasova and Denis Muravyov ran away from home and barricaded themselves inside a cabin with whisky, guns and ammunition.
Alexandra Coghlan
BWW Review: FIDELIO, Royal Opera House
On reflection, we should have been more suspicious.
BWW Review: LUISA MILLER, London Coliseum
There must have been a two-for-one offer on the day director Barbora Horakova visited the Regietheater prop-store to kit out her Luisa Miller for English National Opera.
BWW Review: WERTHER, Royal Opera House
Fashions in love (and lovers) swing as wildly as hemlines between the centuries.
BWW Review: LA FILLE DU REGIMENT, Royal Opera House
Lighter than a macaron and every bit as deliciously Gallic, Donizetti's La fille du regiment swaps the composer's signature brand of robust, Italian comedy for something frothier, more melt-in-the-mouth.
BWW Review: THE BARTERED BRIDE, Garsington Opera
We haven't seen a lot of Smetana's The Bartered Bride in the UK recently.
BWW Review: PHAEDRA, Linbury Theatre, Royal Opera House
God it's good to have the Linbury back.
BWW Review: DIE MEISTERSINGER VON NÜRNBERG, Royal Opera House
Is it possible that Kasper Holten, Covent Garden's outgoing director of opera, has directed a Meistersinger about himself? It certainly looks a lot like it.
BWW Review: PATIENCE, Hackney Empire
'What a very singularly deep young man that deep young man must be!' You don't have to look very far in selfie-taking 2017 for an equivalent to the narcissism and aestheticism that are so thoroughly sent up in Gilbert and Sullivan's 1881 Patience.
BWW Review: THE WINTER'S TALE, London Coliseum
If a sad tale really is best for winter, then we've certainly been blessed this year.
BWW Review: TRAVESTIES, Apollo Theatre
'What did you do during the war, Dada?' Somewhere underneath the relentless punning and the pastiche, the whistle-stop wit and the whirling theoretical debate, there's a seriousness to Tom Stoppard's 1974 Travesties that feels horribly prescient.
BWW Review: ALICE'S ADVENTURES UNDER GROUND, Barbican, 28 November 2016
It couldn't have been better timed.
BWW Review: THE CHILDREN, Royal Court, 24 November 2016
Three sixty-something retired scientists talk to one another in a remote seaside cottage for two hours.
BWW Review: LULU, London Coliseum, 9 November 2016
Beautiful, unknowable Lulu - all things to all men, who has 'never pretended to be anything by what men see in me' - is the chameleon-heroine revealed in Berg's musical mirror.
BWW Review: ORESTE, Wilton's Music Hall, 8 November 2016
Glass panels, windows and boxes on stage should always be treated with mistrust.
BWW Review: THE NOSE, Royal Opera House, 20 October 2016
Composed when Shostakovich was just 21 years old, fresh from the conservatoire and still high on the success of his First Symphony, The Nose is a piece of musical rebellion - a fantasy of abrasive, rule-breaking joie de vivre whose absurd, anarchic rompings and musical shape-shiftings conceal a poli
BWW Review: THE PEARL FISHERS, London Coliseum, 19 October 2016
You have to get through an awful lot of shell to even glimpse the jewel at the core of The Pearl Fishers.
BWW Review: TOSCA, London Coliseum, 3 October 2016
When Catherine Malfitano's Tosca debuted in 2010, English National Opera finally had a production of Puccini's classic to rival Jonathan Kent's long-serving version up the road at Covent Garden.
BWW Review: DON GIOVANNI, London Coliseum, 30 September 2016
English National Opera has been having a hard time with Don Giovanni lately.
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