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KVN Dance Company Brings COPPELIA to Darlington Hippodrome

Following sold-out performances in 2021, KVN Dance Company will make a return with Kevan Allen’s magical reimagined version of the classical ballet Coppelia at Darlington Hippodrome on Sunday 23 June as part of a 16 date UK tour.

Ryan James Monroe Makes Chelsea Table + Stage Debut With New Show

After mesmerizing crowds with two sold-out shows at Joe's Pub, powerhouse vocalist and icon in his own right, Ryan James Monroe (TIME TRAVELERS) makes his grand debut at Chelsea Table + Stage on May 4th at 7pm with a brand new show.

Video: Nisa Shares “Dance Alone” Single Ahead of Debut LP

Nisa has unleashed “Dance Alone”, the final preview track from her debut album Shapeshifting due out this Friday, April 26 via Tender Loving Empire Records. On the sultry grunge-pop track, she shares, “Nothing feels more freeing to me than dancing, and watching someone you love find themselves in movement.” Watch the visualizer here!

Review: Separated at Birth? Boulanger's VILLE MORTE and Debussy's PELLEAS Fall Similarly on the Ear

It’s easy to understand why Neal Goren, founder and artistic director of Catapult Opera, was immediately taken with LA VILLE MORTE. (His program notes say, “Upon receiving the piano-vocal score, I found myself sighing in ecstasy…”) First, the name Nadia Boulanger is magic in 20th century music—in music history in general, for that matter—though not for her own compositions.

Geoffrey Cantor Steps In For Karen Carpenter as Director of OCTOBER 7

OCTOBER 7, a verbatim play about the terrorist attacks on Israel as told by those who survived them, has announced its full cast and a new director, as Geoffrey Cantor (Marvel's Daredevil & The Punisher on Netflix) steps in for Karen Carpenter as the production's director

Review: LOVE'S LABOUR'S LOST, Royal Shakespeare Theatre

Spring brings renewed energy into the year. There isn’t a better moment for the Royal Shakespeare Company’s recently appointed Co-Artistic Directors Daniel Evans and Tamara Harvey to launch their vision for the organisation. Led by a big name that will attract new audiences who are probably younger than your typical RSC crowd, we hope Love’s Labour’s Lost is setting the tone for what’s coming. If this opening is anything to go by, this upcoming era seems to be adopting Shakespeare for a contemporary audience while maintaining the reverence for the language and the pomp of tradition.

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