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By Phil Willmott Monday, October 17 2016, 14:02
There’s so much to enjoy in Birmingham Royal Ballet’s version of Shakespeare’s THE TEMPEST, choreographed by their Artistic Director, David Bintley, with a new score by Sally Beamish.
The ballet, as you would expect, simplifies the original plot but the ex Duke of Milan, Pospero and his eligible daughter, Miranda are still shipwrecked on an island following a coup back home in which his brother has seized power.
By Stuart King Saturday, October 15 2016, 11:17
Back in 1983 I had the extraordinary privilege of witnessing Albert Finney and Tom Courtenay deliver two of the most theatrically ebullient performances about the grandeur and grimness of a life in luvvydom, ever committed to celluloid. This was Peter Yates film version of The Dresser which relied upon Ronald Harwood’s exceptional scripting of his original play to generate considerable critical success, including 5 Academy Award nominations.
By Andrew Bewley Wednesday, October 12 2016, 16:23
Bringing Lillian Hellmann’s favourite play, The Autumn Garden, to the London stage for the first time, Anthony Bigg's production is a delight.
Wonderfully subtle in its observation of Love and all its pitfalls (regret being the main focus) and beautifully slow paced.
By Stacey Tyler Wednesday, October 5 2016, 15:36
The idea of using a murder ballad as the basis of a musical is an unusual concept and I was interested in how this was going to to work on stage within the musical theatre format. My preconception was that although murder ballads make great 4-minute songs, how is this going to work as a 90 minute musical? I need not have worried, we are clearly told at the beginning that the story will simply follow the format of these obsessive songs, and ‘in all great murder ballads, when songs of love-gone-wrong are sung, blood must be spilled, but by who?’ So as the love story begins, I know how it must end.
By Andrew Bewley Tuesday, October 4 2016, 10:23
Stephen Jeffrey’s play about famed hell-raiser, conversationalist and filthy poet John Wilmot (Dominic Cooper) is set during the reign of King Charles II and investigates Wilmot’s short-lived, adult life. It marks the long-awaited return of Dominic Cooper to the West End Stage after he shot to theatrical stardom as Dakin in Alan Bennett’s 2004 award-winning National Theatre production, The History Boys.
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