David Sousa Lopes - Page 3

In this timeless tale of love and tragedy, the hero Orpheus (Marie-Claude Chappuis) ventures to the depths of the underworld to retrieve his deceased wife, Eurydice (Mirella Hagen), only to discover that even when working under the grace of gods, fate can be very hard to overcome.

Last Friday, we attended the premiere of Lemi Ponifasio’s Love to Death, the anticipated third instalment of the Red Bridge Project. The show seeks to break our standard understanding of theatre, with a healthy and creative symbiosis between traditional dramatic elements and bits and pieces of the real world.

Just a few days after Message in a Bottle, Broadway World had the pleasure of attending the premiere of Danse Macabre. The two shows take radically different approaches to the same topic, perfectly displaying two possible dichotomies of storytelling.

To start off 2024, we attended the premiere of Message in a Bottle, a Sadler’s Wells and Universal Music UK production, choreographed and directed by Kate Prince. The show tells us the story of a family pushed out of its homeland by the horrors of war and forced to migrate across the sea towards safety.

What would do if you were given one wish by the devil? And even if your wish was vain, could you truly make the best of your new life?

There were so many interesting elements, that the reader will surely allow us to break from our usual three-medal article, in order to included every reason why you should be watching this show.

For our first show of the season, Broadway World attended the premiere of MacBeth, hosted by our esteemed Grand Théâtre of Luxembourg.

This weekend, Broadway World attended the premiere of The Writer, hosted by the Théâtre des Capucins. Directed by Claire Thill, the play goes over gender and interpersonal dynamics in the world of art and in society as a whole.

We sat with Alice Borgers, who played Camille in last week’s On Ne Badine pas Avec l'Amour. In an hour that really flew by, the Belgian actress shared with us some interesting takes and stories about her experience as a rising figure in our artistic scene.

This week, Broadway World attended the premiere of Alfred de Musset’s classic On Ne Badine pas Avec l’Amour at the Grand Théâtre of Luxembourg.

This week, Broadway World had the pleasure of attending Songes d'une Nuit..., a bold adaptation of the classic Shakespearean masterpiece A Midsummer Night’s Dream.

This week we had the pleasure of attending Patricia Guerrero’s Deliranza, an ambitious dance production with an innovative take on flamenco, built on a combination of the classic Spanish art style and a surreal narrative tone.

What better way to start 2023 than with a visit to our esteemed Grand Théâtre of Luxembourg? The play that got the year started for us was FC Bergman’s 300 el x 50 el x 30 el.

This week, the Grand Théâtre of Luxembourg presented us with with Botis Seva’s BLKGOD, a remarkable dance performance reflecting on the ugly nature of modern social relations, on the burdens of self-awareness and on youth’s constant treading on the slopes of self-destruction.

Following up on our last review, this weekend we had the pleasure of attending Eternal Road, a performance about the life and career of Kurt Weill.

This week, it was our pleasure to attend the premiere of Kurt Weill’s Rise and Fall of the City of Mahagonny at our esteemed Grand Théâtre of Luxembourg. This controversial play from 1930 narrates the moral decline of a city oriented towards little more than hedonism and debauchery, where self-indulgence is the only voice that matters.

What did our critic think of PINA BAUSCH at Grand Théâtre? We kick off our 2022/23 season with the performance The Play with the Boat, by the widely acclaimed Tanztheater Wuppertal Pina Bausch. The company was masterful in the embodiment of many of the traits that characterized Pina Bausch's neo-expressionist style, from dancing patterns to the integration of set and musical components into the overall performance. The symbolism centered around intense emotional states, manifesting not only in the solo and group numbers, but also through various elements on stage, as well as a soundtrack that seemed to perfectly fit every sequence.

The show we covered this week was the Life & Times of Michael K, a play based on the novel of the same name by J. M. Coetzee and adapted for the stage by Lara Foot.

This might have been the event of the season, so we will allow ourselves to break tradition from our usual format and simply list the elements that made this show so great.

Last week, Broadway World had the chance to attend the last performance of Der Zauberberg, the theater adaptation of Thomas Mann’s most acclaimed work.