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Review: IL BARBIÈRE DI SIVIGLIA, Glyndebourne Festival
by Aliya Al-Hassan - May 19, 2025

Opera buffa is an ever-popular genre of the art, and more than two centuries after its composition, Rossini's Il barbière di Siviglia remains one this genre's most often staged operas. The music and lyrics are pure genius, but the success of this particular opera comes from an inherent understanding of the comedy within. Annabel Arden's production makes a triumphant return to Glyndebourne because it does just that.

Review: NORTHERN BALLET - JANE EYRE, Sadler’s Wells
by Matthew Paluch - May 14, 2025

The dance world is all the richer for having different kinds of storytellers - no doubt. But equally, audience members will inevitably gravitate towards makers they feel a connection with. I should be clear - I don't connect with Cathy Marston’s take on narrative dance, or perhaps just Jane Eyre rather than her whole canon.

Review: EINKVAN, The Coronet Theatre
by Cindy Marcolina - May 9, 2025

This production is a treat. Einkvan (Everyman) is a play about connection, humanity, and intimacy. Written by Jon Fosse – the most performed Norwegian playwright after Ibsen and winner of the Nobel Prize in 2023 – it’s a haunting, longing journey. The search for compassion and kinship unfolds through parents who try to relate to their sons, to no avail. Blending dramatic practice with contemporary art and live footage, it’s very experimental, very European, and very peculiar. Directed by Kjersti Horn and presented in the original Norwegian with surtitles, it’s a deliciously highbrow, yet raw, experience.

Review: ROMEO AND JULIET, Shakespeare's Globe
by Katie Kirkpatrick - May 6, 2025

In this version of the familiar story, we are whisked away to the 1800s American West. The sparring young men are now gun-touting cowboys, the ball is a barn dance, and the soundtrack is all banjos and whistles. It’s a bold transposition of the star-crossed Verona lovers, but one that works surprisingly well. 

Review: THE PLAY'S THE THING: A ONE-PERSON HAMLET, Wilton's Music Hall
by Gary Naylor - Apr 4, 2025

More lost than gained in this abridged version of Shakespeare's longest play

Review: TURANDOT, Royal Ballet And Opera
by Michael Higgs - Mar 20, 2025

With plenty of colour, masks, and a mystical ambience, Andrei Șerban’s 1984 production of Turandot feels just as fresh as ever. Paired with a stellar cast on top form, it represents a great success, all around.

Review: JASMIN VARDIMON: NOW, Sadler's Wells East
by Louise Penn - Mar 6, 2025

With NOW standing for many nows, thens, nowheres, future nows, past nows, and present nows, Jasmin Vardimon offers up revisited classic choreography fused with new material to create a beautiful and intense way to celebrate the company's 25th anniversary. Offering a window into the world through movement, music and video, NOW is a playful and political piece.

Review: CHURCHILL IN MOSCOW, Orange Tree Theatre
by Aliya Al-Hassan - Feb 12, 2025

In 1942 Moscow a top-secret meeting occured between Winston Churchill and Joseph Stalin as the Nazis rampaged through Europe and into the Soviet Union. This world premiere of Howard Brenton’s play imagines the attempts at diplomacy, political clashes and eye-watering amounts of drinking that may have occured as the two men thrashed out a deal to try to save the world.

Photos: CHURCHILL IN MOSCOW is Now Playing at the Orange Tree Theatre
by Stephi Wild - Feb 11, 2025

All new production photos have been released for Churchill in Moscow at Orange Tree Theatre ahead of press night this evening. Check out the photos here!

Review: HANSEL AND GRETEL, Royal Ballet and Opera
by Gary Naylor - Dec 29, 2024

Macabre and spectacular, this is Christmas fare as it once was and should still be, fully trusting its audience.

Critics' Choice: Cheryl Markosky's Best Shows of 2024
by Cheryl Markosky - Dec 12, 2024

Grand dame Sian Phillips stealing the show, Adam Cooper giving an unexpected twirl and smaller theatre spaces punching above their weight. These are some of BroadwayWorld reviewer Cheryl Markosky's favourite theatre moments of 2024.

Review: THE SNOWMAN, Peacock Theatre
by Alice Cope - Nov 25, 2024

Now in its 27th year in London, The Snowman returns to Sadler’s Wells Peacock Theatre, offering a festive treat for families.

Review: THE SOUND VOICE PROJECT, Royal Ballet and Opera
by Gary Naylor - Nov 15, 2024

Words run out, as The Voice is lost and recovered

Review: RIGOLETTO, London Coliseum
by Franco Milazzo - Oct 31, 2024

There’s no shame in pulling an old favourite from the vaults but Jonathan Miller’s 1982 gangster-themed production is firing blanks in this latest revival.

Photos: CHICAGO UK and Ireland Tour
by Stephi Wild - Oct 29, 2024

All new production photos have been released for the UK and Ireland tour of the multi award-winning CHICAGO. Check out the photos here!

Review: THE WILD DUCK, Coronet Theatre
by Cheryl Markosky - Oct 24, 2024

The Coronet's co-production with the Norwegian Ibsen Company (NIC) and Bergen's Den Nationale Scene examines the dangers of idealism through the story of the Ekdal family ripped apart by the arrival of Hjalmar Ekdal's childhood friend, Gregers Werle (also the son of wealthy industrialist Hakon). Read the review.

Review: ENCOUNTERS: FOUR CONTEMPORARY BALLETS, Royal Ballet And Opera
by Matthew Paluch - Oct 23, 2024

The Royal Ballet season continues with its first modern bill - Encounters: Four contemporary ballets. For some, like me, the four works presented are all new, but in actuality only two of the four are premières. And one of those is in fact a development of an existing (2022) pas de deux into a bigger scale work.

Review: FIDELIO, Royal Ballet and Opera
by Alexander Cohen - Oct 10, 2024

Tobias Kratzer’s production pulls the rug from underneath you writes BWW's critic.

Review: EUGENE ONEGIN, Royal Ballet And Opera
by Michael Higgs - Sep 30, 2024

Deservedly still Tchaikovsky’s most celebrated opera, Eugene Onegin astounds with angelic music that never ceases to amaze. This production by Ted Huffman, in his main stage Royal Opera debut, features a stellar cast with Kristina Mkhitaryan as Tatyana, Gordon Bintner as Onegin, and several choices that, while divisive, raise intriguing questions.

Review: THE CABINET MINISTER, Menier Chocolate Factory
by Cindy Marcolina - Sep 28, 2024

Sir Julian Twombley is in hot water when it’s discovered that his family has been living way beyond his House of Commons’ wages. This isn’t the latest front page of a Daily Mail-made political attack, it’s the premise of one of Arthur Wing Pinero’s later comedies. Though Victorian farce isn’t exactly all the rage at the moment, The Cabinet Minister is so unfortunately relevant and timely you’d never think it was written in 1890.

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