GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Concerto/Enigma Variations/Raymonda Act III, Royal Opera House
Triple bill to treasure from Royal Ballet
Concerto/Enigma Variations/Raymonda Act III
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
IN WHAT’S something of a history lesson, this mixed bill perfectly showcases the Royal Ballet’s matchless skill and rich heritage.
Works by the company’s founding choreographer Frederick Ashton and his successor Kenneth MacMillan are completed by Rudolf Nureyev’s version of Marius Petipa’s final act of the Imperial Russian classic Raymonda.
MacMillan’s Concerto, set to Shostakovich’s piano concerto No. 2, is awash with vibrancy and colour as dancers in orange and lemon costumes leap in jetes across the stage with a synchronised grace.
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