Louise Penn - Page 4

David Edgar's new stage play about Elia Kazan and Arthur Miller places us mainly in Connecticut, 1952, but struggles to tease out the personal and political complexities within a creative friendship. There is a strong play within Here In America, but it would benefit from being stripped back to the essentials - less Marilyn Monroe, more Marxism. <span style="background-color: rgb(255, 255, 255);">See what our critic had to say.</span>

Almost thirty years since they last performed, London City Ballet are making a return to their former home at Sadler's Wells this week. Artistic director Christopher Marney has assembled a small company of talented dancers and in this Resurgence programme, a mixture of classic pieces half-forgotten from the reportoire and new commissions.

There were no phone screens, no sotto voce conversations, no fidgeting, as a packed Hall watched the Bavarian Radio Symphony Orchestra in rapt appreciation. Each instrument had its moment. The dual harps added a cool clarity, the double basses a morose touch, the trombones a sweet elegance. This was a vibrant reading of a modern classic in expert hands.

Since 2005, Aurora Orchestra have been performing classical pieces from memory with no score and free movement around the stage. Their passion for their craft is wonderful, and extends to all those who are lucky enough to see them work. This was an inclusive and accessible Prom, vibrant and vivacious.

Peanut Butter and Blueberries is original, sweet, touching and vibrant. It is extremely refreshing to see a play about the British Muslim experience where trauma and tradition are, of course, acknowledged, but are not the main focus of the drama. As this is Manzoor-Khan's first play, it will be fascinating to see what she tackles next.

A lively, varied and yes, sassy night celebrating a groundbreaking artist. If only a few of the audience headed off to listen to Vaughan's original recordings, that is a bonus. As Sarah Vaughan 'married operatic grandeur with the coolness of jazz', so this concert digs deep to showcase her range, personality, and love of life.

The first major revival of Arthur Miller's A View From The Bridge in a decade plays on the downfall of the 'Everyman'. Eddie Carbone is a hard-worker, popular, a man's man. But something deep and dangerous is gnawing at his heart.

Produced by Zoo Co and Improbable, this is not your show, or like any show you might have seen before. Perfect Show for Rachel is just what it says, a perfect show directed by Rachel O'Mahony, who is learning disabled, living in a care home, and exploring her creativity. So anything can happen, and no two shows are the same.

Deeply mining the scores of four musicals Jerry Herman is best known for (Hello, Dolly, Mame, Mack & Mabel, La Cage Aux Folles), with a handful from others like Dear World and Parade, this will appeal to Herman devotees and musical generalists alike.

A Song of Songs has been placed within a traditional Middle Eastern beat by Ofra Daniel, writer, composer, director, and lead actor as Tirzah, unfulfilled wife. Whether through the stamps and flowing skirts of flamenco or thumping percussive beats, the physicality of the piece takes centre stage. What may be missing is an emotional connection.

Stephen Schwartz's 70s musical Pippin makes a triumphant return with a note perfect casting at Drury Lane's concert version, with Fosse-inspired choreography and costumes given a disco pride vibe. Alex Newell's vocals do not disappoint, Jac Yarrow is a fine lead, while Patricia Hodge is a poignant Berthe.

The Velveteen Rabbit is a story which needs little introduction, and which retains wide appeal. This retelling by Ben Crompton for balletLORENT pops with life as a man reacquaints himself with childhood toys, notably a beloved rabbit. Aimed at a family audience, this is a delightful way to while away an afternoon.

Eugene O'Neill's classic play of family strife has had regular revivals in London (most recently in 2018 and 2012). Set in 1912 and published posthumously in 1956, it remains one of the great American plays. Brian Cox returns to the London stage as James Tyrone, actor, family colossus, and flawed man, in a mesmerising performance.

The book showcases a variety of venues worldwide, from ancient to modern, from the smallest travelling theatre in Rome to one of the largest in New York. Paul Tracey's paintings capture the spirit of the playhouse in all its grandeur and mystery. It is all about the images, with the briefest of textual accompaniment.

Hide and Seek is not an easy watch, although it starts off in a light vein, almost sweet, when one schoolboy is exploring a cave and finds the hideout of his missing classmate.. Despite being distant out in the real world, here they develop a friendship which grows and flourishes despite themselves.

Returning to Stratford East after two decades, the vibrant ska musical The Big Life mixes the plot of Love's Labour's Lost with the arrival of the Windrush generation to London. With a big heart and a sense of fun, it takes an original approach to highlighting the plight of the new migrants who see their dreams collapse.

With ghostly lighting and flourishes of laughter, Tiny Tim's Christmas Carol can be highly recommended for its target audience of children under ten and for adults who may be looking for a break from their festive planning. A tasty plum pudding of a show with just enough holly on top.

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.