One of the more perverse and unexpected impacts of the pandemic lockdown, has been the reduction in workforce within many sections of the arts, including those departments which support the back office functions for institutions like the Royal Opera House. The hard pushed and over-stretched Press Office team managed to miscommunicate dates for the opening of La Traviata to this particular reviewer, so rather than waste my journey into Covent Garden this past Saturday, I accepted their offer of a house seat to review the ballet triple bill aimed at highlighting the talents of some of the newer bright lights of the dance fraternity. As is usual with such contrived amalgamations, it was an enjoyable but fairly mixed offering, where humanity flirted with death in a three-sectioned, mildly post-apocalyptic pas de deux.
Reviews
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Review: THE WEATHERING / SOLO ECHO / DGV - DANSE À GRANDE VITESSE (ballet triple bill) at The Royal Opera House Covent Garden
By Stuart King Monday, April 4 2022, 12:20
Review: COCK at The Ambassadors Theatre
By Stuart King Friday, April 1 2022, 12:15
Whilst the title of Mike Bartlett’s 2009 play may intrigue and titillate some potential theatregoers, it may also deter others. But rest assured, there is no gratuitous nudity and the couple of short-lived sex scenes are conveyed with subtlety and by means of exquisitely fluid physical choreography in Marianne Elliot’s beautifully charged and nuanced production now playing at the Ambassadors.
Jade Anouka and Jonathan Bailey in Cock at the Ambassadors Theatre. Photo Brinkhoff/Moegenburg
Review: ONE NIGHT WITH ROBBIE WILLIAMS at The Courtyard Theatre
By Stuart King Thursday, March 31 2022, 12:27
The Courtyard Theatre (English National Opera’s former rehearsal and workshop space in Hoxton which was itself a former public library) hosts a short run of Matt Littleson’s new single-hander play One Night With Robbie Williams.
Review: STRAIGHT LINE CRAZY at the Bridge Theatre
By Stuart King Thursday, March 24 2022, 08:59
Ordinarily, the winning combination of a new David Hare play with the presence of a bona fide movie star like Ralph Fiennes assuming its lead role, would set pulses racing and box office tills ringing. But whilst the run may have virtually sold-out before it opened due to the star’s cachet, the piece is something of a didactic dirge with only momentary flashes of levity and pathos. It’s a far cry from the playwright’s heady power-output of “Racing Demon”, “Amy’s View”, “Plenty” and “Pravda”, which now feel like very distant successes by comparison.
Dani Moseley as Carol Amis in Straight Line Crazy at the Bridge Theatre. Photo by Manuel Harlan.
Review: CINDERELLA at the Gillian Lynne Theatre
By Stuart King Monday, March 21 2022, 08:58
Easily eclipsing all competition for the campest spectacle in the West End, is Andrew Lloyd-Webber’s Cinderella playing at the Gillian Lynne Theatre (formerly the New London which was renamed in honour of the choreographer whose work on Cats ran at the theatre for 21 years between 1981 - 2002).
Carrie Hope Fletcher, Laura Baldwin, Victora Hamilton-Barritt, and Georgina Castle in Cinderella, Photo Credit Tristram Kenton.
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