Louise Penn

With a potent and varied score from Thomas Adès, vibrant choreography from Wayne McGregor, and intruguing design from Tacita Dean, The Dante Project captures the attention despite the assumption audiences know who's who in this revered Italian narrative poem. The Dante Project is fierce yet tender, and the technical aspects are superb.

As the most widely seen modern dance work in the world, Alvin Ailey's Revelations has become part of the DNA of contemporary and popular dance, and it is a privilege to finally experience it on a live stage, alongside its more modern yet complementary 21st century cousins from Kyle Abraham and Robert Battle.

Marking the Proms debut of the Berlin Radio Symphony Orchestra (Rundfunk-Sinfonieorchester Berlin), their artistic director Vladimir Jurowski conducted a lively and varied programme of works by Weill, Adès and Rachmaninov to a Royal Albert Hall high in anticipation.

In this musical, Franklin Shepard's pursuit of fame and money unbalances his personal and professional life, and those around him. No one is happy in this harsh expose of the backstage reality behind 'putting on a show', which makes closing number 'Our Time' the most devastating moment of the production.

This is a piece of folk storytelling at its best. Das Paradies und die Peri is an exciting piece of music which has everything you might want in an evening: moments of battle evoked by complex orchestrations; true love brought to life by the emotional power of song; and eventual redemption.

This Prom showcased the best of the avant garde in contemporary classical music: entertaining, bold, radical and full of drama. The London Philharmonic Orchestra were conducted by Edward Gardner with aplomb and determination, while the three choirs and two soloists left the capacity audience in delighted appreciation.

The process of bringing the works of the Bard to a modern stage is full of challenges, as director Bill Alexander explains in his new book, Exploring Shakespeare. A Director's Notes from the Rehearsal Room. In an absorbing glimpse into the rehearsal room, we are introduced to the choices which face both cast and crew when developing a production, from time and pace to backstory and design.

A pub theatre in Earl's Court turns into a Quaker Meeting House for Naomi Wallace and Marcus Rediker's intriguing play The Return of Benjamin Lay, which takes the true story of a farmer, sailor, and abolitionist who stands just 4 feet tall and makes his passion for equality universal.

Mary (Brid Brennan) is coming home to Yorkshire after a six-month prison sentence. As her daughters and granddaughter try to make her welcome, we slowly find out what dark secrets are being hidden within the paper-thin, gauzed walls of this ordinary house. Deborah Bruce's script is frank, funny, and sad.

Raw, brutal, twisted, and full of rich wordplay, this play makes its political points and highlights a relationship which uses regret, mistakes, and teasing to hide what is really happening at its core. It is less the star-crossed young lovers of Shakespeare than the smack-stained children of a modern wasteland. 

John Haidar’s production of Hamlet ... is a briskly modern piece which fizzes with primal urges, adding a new lens to a a familiar text. Very accessible to those new to the play, and a thoughtful treatment for those who know the plot well, this Hamlet is a 'palpable hit'.

Creature is a fascinating experiment, but requires a familiarity with both pieces of source material and a constant attention to what is going on in the story. This may ultimately isolate the audience from full enjoyment. It has much to say on experimentation and torture, but doesn’t quite make the connection we need to feel involved and engaged.

Returning to London with their double bill, Pioneers, Ballet Black continue to enhance their reputation as Britain’s most diverse and daring ballet company.  

Familie Flöz are back in London for the first time in over a decade, with their fifth visit the London International Mime Festival, and their mask storytelling keeps its noted style and substance.  Feste is a fairy tale for adults which is both amusing and poignant, with Familie Flöz’s special blend of cutting glances and political commentary.

How did a low-budget sci-fi film, made in less than a week, become one of America's most beloved cult musicals? Adam Abraham's meticulously researched book reveals the story behind Little Shop of Horrors, from the initial idea to the choice of cast and creative team.

It is fast approaching Christmas, and we are well into panto season - so what better time to settle down at home to watch one of children's television's greats in full creative mode? The latest digital festive treat from Panto Online and Peter Duncan is named Pantoland, with stories, characters, and silliness enough to go around.

Grey Man is a fascinating piece of digital theatre, a drama in storytelling, which by the end feels like an elaborate deception to scare the soul. Writer Lulu Raczka has created a play which is strange, familial, and downright weird.

There's no place like Paris, so welcome to my world of opera'. So says Renée Fleming, when introducing this film on the city which invented the word 'connoisseur'.

There is a sense of anticipation in the air as we take our seats for Black Love, which comes to the Kiln for a strictly limited run this month. As Aurora (Nicholle Cherrie) slinks into the stage set of white boxes, surrounded on all sides by the audience, she brings with her a stylised version of which 'black love' might be.

A revival of Bruce Norris’s biting satire Clybourne Park still feels relevant today to questions of racial tension and gentrification.