Johan Persson News

Theatre with lasting cultural impact is not something that's created often. Especially not modern ballet. Yet Matthew Bourne's Swan Lake has that impact, and deservingly so.

Stephen Adly Guirgis's play is as relevant today as ever, its coruscating examination of the nature of American justice and religious redemption losing none of its power a generation on from its first outing.

We've got your first peek inside the diner in London! Check out photos of the West End cast of Waitress, led by Katharine McPhee, below!

After a sold-out run, Follies returns to the NT in 2019. Let's see what the critics had to say.

Follies begins with a gentle piece of music: warm, slow, romantic, that erupts into a jazz and brass extravaganza. Like the show that follows, it is full of highs and lows, big things and small things, pain and longing and fun.

When it was announced that Trotters Independent Traders' three-wheeled 'yellow peril' was heading direct to London's West End in the form of a new musical, a few eyebrows were raised. Only Fools and Horses - The Musical was the brainchild of TV series creator John Sullivan, though it has been realised by his son Jim and comedian Paul Whitehouse. Taking a song written by John Sullivan and singer Chas Hodges, along with some notes and ideas, Whitehouse and Jim Sullivan have created a 'greatest hits' of sorts; over 40 hours of TV material has been filtered and spliced together to create this new two-hour stage show.

After a sold-out run, Follies returns to the NT in 2019. Stephen Sondheim's legendary musical includes such classic songs as 'Broadway Baby', 'I'm Still Here' and 'Losing My Mind'. Featuring a cast of 40 and an orchestra of 21, Follies is directed by Dominic Cooke. Tracie Bennett, Janie Dee and Peter Forbes return to reprise their roles, with Alexander Hanson and Joanna Riding joining the cast as Ben and Sally.

New Adventure's Production of the tale of Cinderella has never been more salacious or delicious. The dancing is superb, as well as the artistry involved in every facet of the production. With the updated scenario created, Cindy's world is smack dab in the middle of World War II. Directed and Choreographed by the incredible Sir Matthew Bourne, and loosely based on his parent's war stories, we are taken to London in the '40s, during the middle of air raids, bombings and destruction. The set design and wardrobe is all very drab in muted black and grey reflecting the tone of the environment. Wickedly creative is the choreography, the sets, the costumes, lighting and sound, not to mention the score by Prokofiev. Cinderella Opus 87 is such a melodious wonderland for a choreographer and his artistic team to work with. There is such power, intensity and magic in this lively piece. In Sir Matthew Bourne's hands, and feet, it is a fabulous, imaginative display of artistry and brilliance.

As news of the West End transfer of Fiddler on the Roof broke, we chatted to Judy Kuhn and Andy Nyman to get their reactions, share their journeys with the show, and lift the lid on married life onstage.

In the second act of MISS SAIGON, there is a song called 'Too Much for One Heart.' And that's how one might describe the national touring production of MISS SAIGON which opened at the Durham Performing Arts Center last night. It's just too much.

In an era where everything seemingly gets remade, and usually not for the better, the idea of seeing a Cinderella set during wartime may give you pause - don't let it!

Today's subject Matthew Bourne has done what some might say is impossible, making his theatre life quite the big deal. Bourne has managed to meld the worlds of classical dance and theatre together in his internationally acclaimed company New Adventures with some pretty terrific results. His latest creation, Cinderella, hits the stage of the Opera House at Kennedy Center on January 15 playing through the 20th.

Alun Armstrong, Maggie Steed and Nicola Walker star in the world premiere of The Cane, written by Mark Ravenhill and directed by Royal Court Artistic Director Vicky Featherstone. Let's see what the critics had to say.

The Donmar Warehouse presents Lynette Linton's production of Sweat by Lynn Nottage. Let's see what the critics had to say.

A society is in ruins, and in this tale of depression, dependency and deluge, the human experience is voyeuristically examined, to reveal what happens when you leave folks behind. Focusing in on one singular place, the play goes through the motions to show how the odds can be unfairly stacked against people.

Casting is set for Matthew Bourne's "Cinderella" from New Adventures, which will be presented by Center Theatre Group at the Ahmanson Theatre February 5 through March 10, 2019. With direction and choreography by Matthew Bourne and music by Prokofiev, "Cinderella" will open on February 6 at 8 p.m.

Based on the 2017 Broadway revival (a West End transfer) this new tour offers a solid mix of splash and raw, complex human emotion.

Caning may be something from long in the past, but in Mark Ravenhill's new drama it's all anybody ever seems to talk about. Under Vicky Featherstone's direction, the narrative follows a teacher under siege from the kids he used to teach. The drama unfolds as their estranged daughter visits this world of anarchy, confusion and hostile aggression.

Christmas for dance fans doesn't just mean Nutcracker these days - it means another one of Matthew Bourne's characterful and atmospheric productions is rolling into town.

Principal Dancer Guillaume Cote has been invited to appear as a Guest Artist with The Bolshoi Ballet in Moscow, Russia. Mr. Cote will dance the role of Romeo in Alexei Ratmansky's Romeo and Juliet on December 15, 2018 at the Bolshoi Theatre's New Stage, a role he originated when the ballet premiered in Toronto in 2011. Mr. Cote is one of very few Canadians, and the first dancer from Quebec, who have danced with The Bolshoi Ballet in Moscow; that number includes Ms. Kain who performed with them in the 1970's.