Camilla Greenwell
Latest News on Camilla Greenwell:
Review: COW | DEER, Royal Court Theatre (Sep 14, 2025)
Interview: 'You Need to Love Singing With All Your Mind and Body': Soprano Isabela Díaz, on The Royal Ballet and Opera's Jette Parker Artists Programme (Jul 21, 2025)
Review: MISS MYRTLE'S GARDEN, Bush Theatre (Jun 7, 2025)
Review: COW | DEER, Royal Court Theatre (Sep 14, 2025)
Interview: 'You Need to Love Singing With All Your Mind and Body': Soprano Isabela Díaz, on The Royal Ballet and Opera's Jette Parker Artists Programme (Jul 21, 2025)
Review: MISS MYRTLE'S GARDEN, Bush Theatre (Jun 7, 2025)
Productions
News
Review: COW | DEER, Royal Court Theatre
by Cindy Marcolina - Sep 14, 2025
Have you ever wished to have the same auditory experience as a deer? Or maybe a cow? Now you can. Katie Mitchell partners with playwright Nina Segal and sonic artist Melanie Wilson to explore the world from the eyes – or, more accurately, ears – of the titular animals. It’s a crude reproduction of a day in their lives that de-centres humans from its narrative altogether. Cow | Deer is entirely wordless, unique in its genre and unlike anything you’ll see on a main stage. The leaflets handed out before the start encourage the audience to close their eyes and relax while they listen to “moments of a summer day in England”. You could do that, but you’d be missing all the fun of seeing live foley artistry.
by Cindy Marcolina - Sep 14, 2025
Have you ever wished to have the same auditory experience as a deer? Or maybe a cow? Now you can. Katie Mitchell partners with playwright Nina Segal and sonic artist Melanie Wilson to explore the world from the eyes – or, more accurately, ears – of the titular animals. It’s a crude reproduction of a day in their lives that de-centres humans from its narrative altogether. Cow | Deer is entirely wordless, unique in its genre and unlike anything you’ll see on a main stage. The leaflets handed out before the start encourage the audience to close their eyes and relax while they listen to “moments of a summer day in England”. You could do that, but you’d be missing all the fun of seeing live foley artistry.
Interview: 'You Need to Love Singing With All Your Mind and Body': Soprano Isabela Díaz, on The Royal Ballet and Opera's Jette Parker Artists Programme
by Gary Naylor - Jul 21, 2025
It's a long way from Santiago to the West End. Isabela Díaz explains how she did it and what the Jette Parker Programme means to its artists
by Gary Naylor - Jul 21, 2025
It's a long way from Santiago to the West End. Isabela Díaz explains how she did it and what the Jette Parker Programme means to its artists
Review: MISS MYRTLE'S GARDEN, Bush Theatre
by Cindy Marcolina - Jun 7, 2025
Miss Myrtle’s garden is an oasis caught in the jaws of gentrification. As her mind starts to go, her grandson Rudy moves in with his “friend” and prods her for answers about their shared past. The generational gap is an abyss of doubt, but is that what’s making it hard for her grandson to be open about his life? Danny James King writes a sophisticated exploration of memory, grief, and identity, which, directed by Taio Lawson (the Bush Theatre’s incoming Artistic Director), becomes a touching, beautiful piece of theatre. King surrounds the stigma of dementia with lots of breathing space rooted in the unsaid, sweetening uncomfortable truths with surprising circumstantial humour. A finely tuned balance is set up: though frankly hilarious at times, the show bottles up that unbearable wave of sadness you get when you see an old person sitting by themselves.
by Cindy Marcolina - Jun 7, 2025
Miss Myrtle’s garden is an oasis caught in the jaws of gentrification. As her mind starts to go, her grandson Rudy moves in with his “friend” and prods her for answers about their shared past. The generational gap is an abyss of doubt, but is that what’s making it hard for her grandson to be open about his life? Danny James King writes a sophisticated exploration of memory, grief, and identity, which, directed by Taio Lawson (the Bush Theatre’s incoming Artistic Director), becomes a touching, beautiful piece of theatre. King surrounds the stigma of dementia with lots of breathing space rooted in the unsaid, sweetening uncomfortable truths with surprising circumstantial humour. A finely tuned balance is set up: though frankly hilarious at times, the show bottles up that unbearable wave of sadness you get when you see an old person sitting by themselves.
Sadler's Wells Reveals Sadé and Kristina Alleyne as Guest Artistic Directors of National Youth Dance Company
by Stephi Wild - May 19, 2025
Sadé and Kristina Alleyne, Co-Artistic Directors of the award-winning Alleyne Dance have been appointed as the next Guest Artistic Directors of National Youth Dance Company (NYDC) for 2025/26.
by Stephi Wild - May 19, 2025
Sadé and Kristina Alleyne, Co-Artistic Directors of the award-winning Alleyne Dance have been appointed as the next Guest Artistic Directors of National Youth Dance Company (NYDC) for 2025/26.
Review: PIMPINONE, Royal Ballet and Opera
by Gary Naylor - May 4, 2025
Super show that lightens a very dark subject (corecive control), but does not diminish it
by Gary Naylor - May 4, 2025
Super show that lightens a very dark subject (corecive control), but does not diminish it
Review: CONTAINER, New Diorama Theatre
by Franco Milazzo - Apr 7, 2025
Unlike the object it is named after, Container studiously avoids fripperies like classical forms and categorisation. With nods to immigration, social media, California fires and the ongoing deluge of news from every angle, this is a work that merrily crosses thematic boundaries like a jaywalker after a fun night out.
by Franco Milazzo - Apr 7, 2025
Unlike the object it is named after, Container studiously avoids fripperies like classical forms and categorisation. With nods to immigration, social media, California fires and the ongoing deluge of news from every angle, this is a work that merrily crosses thematic boundaries like a jaywalker after a fun night out.
BroadwayWorld UK's Olivier Awards 2025 Predictions
by BWW UK Critics - Apr 4, 2025
Established in 1976, the Olivier Awards celebrate the world-class status of London theatre, and are Britain’s most prestigious stage honours. Leading the way this year is Tom Scutt's Fiddler on the Roof which matches Hamilton's record-breaking 13 nominations, represented in every acting and creative category.
by BWW UK Critics - Apr 4, 2025
Established in 1976, the Olivier Awards celebrate the world-class status of London theatre, and are Britain’s most prestigious stage honours. Leading the way this year is Tom Scutt's Fiddler on the Roof which matches Hamilton's record-breaking 13 nominations, represented in every acting and creative category.
Review: IL TROVATORE, Royal Ballet And Opera
by Michael Higgs - Feb 27, 2025
An animated revival of Adele Thomas’s 2023 production, Il Trovatore strays from realism and instead focuses on a symbolic reading of this dark and gritty opera. With macabre medieval costumes, eery effects and a brilliant cast, it’s an unnerving experience.
by Michael Higgs - Feb 27, 2025
An animated revival of Adele Thomas’s 2023 production, Il Trovatore strays from realism and instead focuses on a symbolic reading of this dark and gritty opera. With macabre medieval costumes, eery effects and a brilliant cast, it’s an unnerving experience.
Review: LIGHT OF PASSAGE, Royal Ballet And Opera
by Louise Penn - Feb 21, 2025
Crystal Pite’s deeply moving work has themes of safe passage, displacement, community and mortality. Light of Passage, taken as a whole work with the three sections together, builds into a cohesive whole on the theme of who we are, where we are going, and what we feel. Although there are moments of repetition and the occasional sense of the abstract, I did find that Light of Passage succeeds on an emotional level in reaching an audience, who cheered enthusiastically by the curtain call.
by Louise Penn - Feb 21, 2025
Crystal Pite’s deeply moving work has themes of safe passage, displacement, community and mortality. Light of Passage, taken as a whole work with the three sections together, builds into a cohesive whole on the theme of who we are, where we are going, and what we feel. Although there are moments of repetition and the occasional sense of the abstract, I did find that Light of Passage succeeds on an emotional level in reaching an audience, who cheered enthusiastically by the curtain call.
Review: HEKA, The Place
by Franco Milazzo - Feb 2, 2025
After Gandini Jugglers went all retro on us last year by bringing back their classic outing Smashed, the sine qua non of British circus return with a brand new show Heka.
by Franco Milazzo - Feb 2, 2025
After Gandini Jugglers went all retro on us last year by bringing back their classic outing Smashed, the sine qua non of British circus return with a brand new show Heka.
Review: A GOOD HOUSE, The Royal Court
by Alexander Cohen - Jan 18, 2025
A case of never being more than the sum of its parts, even if those parts have promise in themselves.
by Alexander Cohen - Jan 18, 2025
A case of never being more than the sum of its parts, even if those parts have promise in themselves.
Review: LAST RITES, The North Wall Arts Centre
by Niamh Jones - Jan 17, 2025
Have you ever really stopped to consider the significance of sound, of speech, on everyday life… on theatre? Many of us take these things for granted, yet Ad Infinitum’s new play throws the realities of being deaf into sharp relief.
by Niamh Jones - Jan 17, 2025
Have you ever really stopped to consider the significance of sound, of speech, on everyday life… on theatre? Many of us take these things for granted, yet Ad Infinitum’s new play throws the realities of being deaf into sharp relief.
Review: JEN®FA, Royal Ballet And Opera
by Alexander Cohen - Jan 16, 2025
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey. Look closer and you’ll discover a duality to each beguiling appearance.
by Alexander Cohen - Jan 16, 2025
It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey. Look closer and you’ll discover a duality to each beguiling appearance.
Review: RUINATION, Royal Ballet and Opera
by Franco Milazzo - Dec 8, 2024
In a season where theatres are filled with the usual hoary horde - here a Christmas Carol, there a Nutcracker or Messiah - the Royal Opera House deserves praise and maybe even a standing ovation for bringing back its Yuletide hit from 2022. Ben Duke’s Ruination (a co-production between the Royal Ballet and his Lost Dog company) is perfect for this time of year, being a work about reflecting on the recent past and built around the notions of love, family and children. Then again, those expecting something cheery may also want to consider that the source material is Euripides’s Medea, a Greek tragedy that makes Titus Andronicus look like an episode of Bluey.
by Franco Milazzo - Dec 8, 2024
In a season where theatres are filled with the usual hoary horde - here a Christmas Carol, there a Nutcracker or Messiah - the Royal Opera House deserves praise and maybe even a standing ovation for bringing back its Yuletide hit from 2022. Ben Duke’s Ruination (a co-production between the Royal Ballet and his Lost Dog company) is perfect for this time of year, being a work about reflecting on the recent past and built around the notions of love, family and children. Then again, those expecting something cheery may also want to consider that the source material is Euripides’s Medea, a Greek tragedy that makes Titus Andronicus look like an episode of Bluey.
Review: IN THE BUSHES at Grand Théâtre
by David Sousa Lopes - Nov 29, 2024
This weekend, we had the pleasure of covering In the Bushes, a dance performance directed by Léa Tirabasso, one of Luxembourg's most prominent artistic figures.
by David Sousa Lopes - Nov 29, 2024
This weekend, we had the pleasure of covering In the Bushes, a dance performance directed by Léa Tirabasso, one of Luxembourg's most prominent artistic figures.
Review: THE TALES OF HOFFMANN, Royal Ballet and Opera
by Gary Naylor - Nov 8, 2024
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
by Gary Naylor - Nov 8, 2024
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
RUINATION to be Presented by The Royal Ballet & Lost Dog
by Chloe Rabinowitz - Nov 7, 2024
The Royal Ballet and Lost Dog present the first revival of Ruination, an alternative Christmas dance show taking place throughout the festive period. Learn how to purchase tickets.
by Chloe Rabinowitz - Nov 7, 2024
The Royal Ballet and Lost Dog present the first revival of Ruination, an alternative Christmas dance show taking place throughout the festive period. Learn how to purchase tickets.
Review: AKRAM KHAN'S GISELLE, Sadler's Wells
by Franco Milazzo - Sep 21, 2024
Whatever you do, don’t ignore the signs. The posters outside the auditorium alerting audiences to the “very loud music” are not being overly cautious. Quite the opposite. With its ear-splitting drums and a rumbling bass that rolls across the room juddering through our bodies, this Giselle’s effect relies as much on sound as the dancing.
by Franco Milazzo - Sep 21, 2024
Whatever you do, don’t ignore the signs. The posters outside the auditorium alerting audiences to the “very loud music” are not being overly cautious. Quite the opposite. With its ear-splitting drums and a rumbling bass that rolls across the room juddering through our bodies, this Giselle’s effect relies as much on sound as the dancing.
Review: LA TRAVIATA, Royal Ballet And Opera
by Alexander Cohen - Sep 9, 2024
Heavily reliant on strong vocals
by Alexander Cohen - Sep 9, 2024
Heavily reliant on strong vocals
Review: BLUETS, Royal Court
by Alexander Cohen - May 27, 2024
Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
by Alexander Cohen - May 27, 2024
Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
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