This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of Rickson’s production, performed by an excellent cast, ensure a satisfying Chekhovian conclusion.
Most importantly Ian Rickson’s gripping production of Rosmersholm suggests that great female roles are to be found among the classics if only we look hard enough.
Birmingham Royal Ballet should be proud of the show they have created in Sleeping Beauty. They have proven that while we may have changed a lot since 1890, what was beautiful then, is still beautiful now.
Sleeping Beauty follows the well-loved fairytale of good triumphing over evil, Princess Aurora is cursed by the evil fairy Carabosse then saved by the good Lilac Fairy and a Prince. Peter Wright’s luxurious production adds to the original choreography by Marius Petipa.
This performance of Peter Wright’s highly traditional production of Giselle brought a significant role debut, as young Australian Benjamin Ella premiered as Albrecht, which is the biggest role to date in his young career at the Royal Ballet.
Ian Rickson’s production is a tense and unnerving experience that utilises all the skills of its excellent cast to reinforce the oddity of one of Pinter’s most performed plays.
Another year, another Hamlet. In recent times Benedict, David, Jude and Rory have joined the many actors who want to show us their Dane.
Birmingham Royal Ballet Company make a pleasing return to the Lowry in Salford to continue their Shakespeare Season which commemorates the 400 year anniversary since William Shakespeare’s death. There is no better adaptation to bring to the stage then Kenneth MacMillan’s much celebrated classic interpretation of Romeo and Juliet, which is still as fresh and as exhilarating as when it was first performed in 1965.
“This isn’t a church, it’s a ‘business!” What a sentiment for a theatre crowd to hear – or indeed anyone with an art, talent or craft within fifty paces of a cash register.
Back after nearly a decade in the dark, the writer Patrick Marber has mustered a slick three-hander. I am someone who actively takes against football. It’s a bloated beast which long trained its eye on the dosh, and has legions of devotees to do the explaining and the covering up for it. This play movingly demonstrates the dedication, and the devastation. All-consuming fandom and those riding it for every penny.