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Review: PETER GRIMES, Royal Ballet And Opera

Peter Grimes hinges on balancing the duality between its chorus and Grimes as an individual. In one corner the spectacle of the mob, bustling and boiling with rage in their witch hunt for Grimes, and in the other corner is lonely fisherman Grimes himself, whose mental breakdown demands gutturally intimacy. Can Deborah Warner’s 2022 production, revived at the Royal Opera House, rediscover that equilibrium that electrified its first outing? of PETER GRIMES at Royal Ballet And Opera?

Review: GRACE PERVADES, Starring Ralph Fiennes & Miranda Raison

Following a sell-out run at Theatre Royal Bath, David Hare's play, Grace Pervades, is a love letter to theatre, following the professional and personal partnership of legendary Victorian theatrical duo Sir Henry Irving and Ellen Terry. Together they performed over 27 years, changing the face and status of theatre.

Review: DANCE OF DEATH, Orange Tree Theatre

Hatred, desolation and disappointment run deep through August Strindberg's Dance of Death. Marriage is a prison from which the only escape is death. With Valentine's Day rapidly approaching, director Richard Eyre's adaptation may remind you that your other half isn't quite so bad after all.

Review: GRACE PERVADES, Starring Ralph Fiennes

Fiennes captures the voice and gait of actor-manager Sir Henry Irving and Miranda Raison conveys the intuitive nature of actress Ellen Terry in a superb production by director Jeremy Herrin in Fiennes' new season at Theatre Royal Bath.

Review: THE PROMISE, Minerva Theatre, Chichester

'To promise nearly fifty million people truly universal health care - ‘cradle to the grave’ - is crackers.' Despite this quote featuring quite prominently in promotional material, and the poster image showing a pair of midwives, The Promise isn’t wholly about the founding of the NHS. Paul Unwin’s new play instead depicts the rise of Clement Attlee’s Labour Party in the wake of the Second World War, and their attempts to create unity and growth in the years that follow.

Review: Dizzying Night at the Met with Grigorian's Splendiferous BUTTERFLY in House Debut

Those of us who keep an eye on the comings and goings of singers at major opera houses around the world, have known that Friday’s debutant, Lithuanian soprano Asmik Grigorian, was going to be one to watch. And it was. No worries about whether her voice would translate from Europe’s smaller houses to the Met’s enormous hall: Grigorian may have been singing Puccini’s Cio-Cio-San/Madama Butterfly this time around, but she’s a well-schooled Lady Macbeth and Turandot as well, bringing a notably large voice with her. She survived the Met’s notoriously short rehearsal time for revivals (particularly for the second cast of the season). Lastly, she even made it through the final curveball, when tenor Jonathan Tetelman became ill and standby Chad Shelton had to take over as Pinkerton; he did well considering the circumstances, but he was no match for her.

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