The first mixed bill of the season sees the Royal Ballet celebrate a diverse cross-section of 1960s productions - from the clean and tightly choreographed Concerto, to the luscious opulence of Raymonda Act III (so commonly seen as a standalone piece).
What a year for theatre 2019 has been! Remembering all of the amazing shows as part of the build-up to the BroadwayWorld UK Awards has been a complete joy, and it is my pleasure to present some thoughts about the shows that have left a distinct impression on my stagey mind.
Jesse Jones directs James Newton and James Day in Jemma Kennedy's visceral adaptation of Sally Gardner's dazzlingly original and award-winning novel, Maggot Moon, an unforgettable story of courage, friendship and rebellion.
There are possibly no four words more chilling to the avid theatre-goer than The Woman in Black.
Why are religious musicals experiencing a comeback in the West End? BroadwayWorld spoke to London performers about stories of faith and how their personal outlook on life connects with the material.
I'm a Pheonix, Bitch is an autobiographical piece which chronicles a deeply horrendous time in Bryony Kimmings' life through the years 2015-16 with the loss of her relationship, her mental health, and, nearly, her child.
Joseph and the Amazing Technicolor Dreamcoat, which is in the midst of a limited 11-week season at the London Palladium, might be heading to Broadway! According to the Daily Mail's Baz Bamigboye, Broadway producers are already eying a transfer.
Oh Lord! The second Biblical Andrew Lloyd Webber opening of the week (taking his current London production total up to a whopping five from next month) is his early collaboration with Tim Rice, celebrating 50 years since its original concept album, and back home at the Palladium.
Lighter than a macaron and every bit as deliciously Gallic, Donizetti's La fille du regiment swaps the composer's signature brand of robust, Italian comedy for something frothier, more melt-in-the-mouth.
JoAnn M Hunter has choreographed for Broadway and West End shows like School of Rock, Disaster and On A Clear Day You Can See Forever.
Joseph and the Amazing Technicolor Dreamcoat plays a strictly limited 11-week season at the London Palladium, directed by Laurence Connor (School of Rock, Miss Saigon).
Shakespeare's A Midsummer Night's Dream seems to be this season's go-to comedy and, from Nicholas Hytner's lightly immersive offering at the Bridge Theatre to the smaller productions dotted around London, it's delighting audiences young and old.
A mixed bill of true contrasts is served up by the Royal Ballet for the last run of performances of the 18/19 season.
Don't let the abundance of cuteness fool you.
The Print Room at The Coronet is hosting a slick and melancholic bilingual revival of Henrik Ibsen's The Lady From The Sea produced by the venue in their first collaboration with The Norwegian Ibsen Company.
Musical Director Joel Fram joins us once again to dissect 'The Ladies Who Lunch', Marianne Elliott's staging of it, and the 'complex set of causes and effects' that result from this reworking.
In a rare piece of programming from the Royal Opera House, audiences have the opportunity, for a limited run, to watch the Royal Ballet School's talent of tomorrow and the main company's talent of today together in a mixed programme of animal-based stories.
What a bizarre year 2018 has been.
It's been a decade since the Lyric Hammersmith theatre first brought a panto to their local faithful.
Chatting to the teams at the Prince Edward Theatre (Aladdin) and the Theatre Royal Haymarket (Heathers the Musical), both explained how being 'a people person' is so key to the role.
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