STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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La Traviata, Royal Opera House
Tragedy on a grand-scale
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
RICHARD EYRE’S acclaimed production of Verdi's most popular opera returns to the Royal Opera House 25 years after its premiere in 1994.
Based on the semi-autobiographical play and novel La Dame aux camélias by Alexandra Dumas fils, La Traviata follows the tragic love affair between famed courtesan Violetta (Hrachuhi Bassenz) and admirer Alfredo (Liparit Avetisyan).
Set in 19th century Paris, vibrantly brought to life by Bob Crowley's set, the three acter sees our heroine throw a lavish party at which Alfredo declares his love for her - a declaration initially dismissed by Violetta, who cannot see room for true love in her fun-filled life.
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‘There's outrage aplenty in this production but we never quite get to the dark night of the soul,’ writes WILL STONE
WILL STONE applauds a quartet of dance vignettes exploring the joys and sorrows of the human condition
