Camilla Greenwell
Latest News on Camilla Greenwell:
Photos: First Look at JOHN PROCTOR IS THE VILLAIN UK Premiere (Mar 30, 2026)
Review Roundup: JOHN PROCTOR IS THE VILLAIN at Royal Court Theatre (Mar 30, 2026)
Review: JOHN PROCTOR IS THE VILLAIN, Royal Court Theatre (Mar 27, 2026)
Photos: First Look at JOHN PROCTOR IS THE VILLAIN UK Premiere (Mar 30, 2026)
Review Roundup: JOHN PROCTOR IS THE VILLAIN at Royal Court Theatre (Mar 30, 2026)
Review: JOHN PROCTOR IS THE VILLAIN, Royal Court Theatre (Mar 27, 2026)
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Photos: First Look at JOHN PROCTOR IS THE VILLAIN UK Premiere
by Chloe Rabinowitz - Mar 30, 2026
Check out production photos for the UK transfer of John Proctor is the Villain by Kimberly Belflower, directed by Tony Award-winner Danya Taymor. The production is now playing at the Royal Court.
by Chloe Rabinowitz - Mar 30, 2026
Check out production photos for the UK transfer of John Proctor is the Villain by Kimberly Belflower, directed by Tony Award-winner Danya Taymor. The production is now playing at the Royal Court.
Review Roundup: JOHN PROCTOR IS THE VILLAIN at Royal Court Theatre
by Chloe Rabinowitz - Mar 30, 2026
See what the critics are saying about the West End transfer of Kimberly Belflower’s John Proctor is the Villain, making its European premiere at The Royal Court Theatre in London. Read BroadwayWorld's Review Roundup here!
by Chloe Rabinowitz - Mar 30, 2026
See what the critics are saying about the West End transfer of Kimberly Belflower’s John Proctor is the Villain, making its European premiere at The Royal Court Theatre in London. Read BroadwayWorld's Review Roundup here!
Review: JOHN PROCTOR IS THE VILLAIN, Royal Court Theatre
by Cindy Marcolina - Mar 27, 2026
When John Proctor is the Villain opened on Broadway last year, it lit a fire. Kimberly Belflower’s response to Arthur Miller’s The Crucible is more than play, it’s a movement. After shaking things up overseas, the piece is taking on London now (in the same venue that saw the U.K. premiere of Miller’s chef d’oeuvre seven decades ago almost to the day!) with its full creative team in tow and a brand new cast.
by Cindy Marcolina - Mar 27, 2026
When John Proctor is the Villain opened on Broadway last year, it lit a fire. Kimberly Belflower’s response to Arthur Miller’s The Crucible is more than play, it’s a movement. After shaking things up overseas, the piece is taking on London now (in the same venue that saw the U.K. premiere of Miller’s chef d’oeuvre seven decades ago almost to the day!) with its full creative team in tow and a brand new cast.
Photos: JOHN PROCTOR IS THE VILLAIN in Rehearsal For UK Premiere
by Stephi Wild - Mar 20, 2026
All new rehearsal photos have been released for the UK transfer of one of the most anticipated shows of the year, the seven-time Tony Award-nominated, John Proctor is the Villain by Kimberly Belflower.
by Stephi Wild - Mar 20, 2026
All new rehearsal photos have been released for the UK transfer of one of the most anticipated shows of the year, the seven-time Tony Award-nominated, John Proctor is the Villain by Kimberly Belflower.
Photos: WELCOME TO PEMFORT Now Playing At Soho Theatre
by A.A. Cristi - Mar 17, 2026
Previews have begun for WELCOME TO PEMFORT, a new play by Sarah Power and directed by Ed Madden, now playing at Soho Theatre through April 18. Check out photos of the show.
by A.A. Cristi - Mar 17, 2026
Previews have begun for WELCOME TO PEMFORT, a new play by Sarah Power and directed by Ed Madden, now playing at Soho Theatre through April 18. Check out photos of the show.
Review: THE SHITHEADS, Royal Court Theatre
by Katie Kirkpatrick - Feb 14, 2026
The Shitheads is the perfect example of the importance of the Royal Court to London’s present day new theatre scene. The debut play from poet Jack Nicholls, this is a show that swings big... and the result is unlike anything else currently playing in the city.
by Katie Kirkpatrick - Feb 14, 2026
The Shitheads is the perfect example of the importance of the Royal Court to London’s present day new theatre scene. The debut play from poet Jack Nicholls, this is a show that swings big... and the result is unlike anything else currently playing in the city.
Review: THE VIRGINS, Soho Theatre
by Franco Milazzo - Feb 6, 2026
Featuring two of the most awkward sex scenes you'll ever see, this acerbic comedy is a merciless meditation on teenage fumblings.
by Franco Milazzo - Feb 6, 2026
Featuring two of the most awkward sex scenes you'll ever see, this acerbic comedy is a merciless meditation on teenage fumblings.
Review: TURANDOT, Royal Ballet And Opera
by Franco Milazzo - Dec 17, 2025
The Royal Opera House’s Turandot has now been running so long it feels less like a revival and more like a listed structure. You don’t attend it so much as pass through it, like a familiar corridor or a particularly grand roundabout. With close to 300 performances under its belt and two runs in this calendar year alone, this production has become the most frequently staged opera in Europe, second only to Zeffirelli’s La Bohème at the Met in the global endurance league. If cockroaches ever start staging Puccini after the apocalypse, this is the version they’ll use.
by Franco Milazzo - Dec 17, 2025
The Royal Opera House’s Turandot has now been running so long it feels less like a revival and more like a listed structure. You don’t attend it so much as pass through it, like a familiar corridor or a particularly grand roundabout. With close to 300 performances under its belt and two runs in this calendar year alone, this production has become the most frequently staged opera in Europe, second only to Zeffirelli’s La Bohème at the Met in the global endurance league. If cockroaches ever start staging Puccini after the apocalypse, this is the version they’ll use.
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.
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