David Sousa Lopes - Page 2

We sat with Alice Borgers, who played Camille in last week’s On Ne Badine pas Avec l'Amour. In an hour that really flew by, the Belgian actress shared with us some interesting takes and stories about her experience as a rising figure in our artistic scene.

This week, Broadway World attended the premiere of Alfred de Musset’s classic On Ne Badine pas Avec l’Amour at the Grand Théâtre of Luxembourg.

This week, Broadway World had the pleasure of attending Songes d'une Nuit..., a bold adaptation of the classic Shakespearean masterpiece A Midsummer Night’s Dream.

This week we had the pleasure of attending Patricia Guerrero’s Deliranza, an ambitious dance production with an innovative take on flamenco, built on a combination of the classic Spanish art style and a surreal narrative tone.

What better way to start 2023 than with a visit to our esteemed Grand Théâtre of Luxembourg? The play that got the year started for us was FC Bergman’s 300 el x 50 el x 30 el.

This week, the Grand Théâtre of Luxembourg presented us with with Botis Seva’s BLKGOD, a remarkable dance performance reflecting on the ugly nature of modern social relations, on the burdens of self-awareness and on youth’s constant treading on the slopes of self-destruction.

Following up on our last review, this weekend we had the pleasure of attending Eternal Road, a performance about the life and career of Kurt Weill.

This week, it was our pleasure to attend the premiere of Kurt Weill’s Rise and Fall of the City of Mahagonny at our esteemed Grand Théâtre of Luxembourg. This controversial play from 1930 narrates the moral decline of a city oriented towards little more than hedonism and debauchery, where self-indulgence is the only voice that matters.

What did our critic think of PINA BAUSCH at Grand Théâtre? We kick off our 2022/23 season with the performance The Play with the Boat, by the widely acclaimed Tanztheater Wuppertal Pina Bausch. The company was masterful in the embodiment of many of the traits that characterized Pina Bausch's neo-expressionist style, from dancing patterns to the integration of set and musical components into the overall performance. The symbolism centered around intense emotional states, manifesting not only in the solo and group numbers, but also through various elements on stage, as well as a soundtrack that seemed to perfectly fit every sequence.

The show we covered this week was the Life & Times of Michael K, a play based on the novel of the same name by J. M. Coetzee and adapted for the stage by Lara Foot.

This might have been the event of the season, so we will allow ourselves to break tradition from our usual format and simply list the elements that made this show so great.

Last week, Broadway World had the chance to attend the last performance of Der Zauberberg, the theater adaptation of Thomas Mann’s most acclaimed work.

An unexpected tapestry of art in many of its forms - dance, music, film and poetry - a unique composition of movement, sound and spoken word.

This weekend, Broadway World had the pleasure of attending the premiere of Bizet’s Carmen at the Grand Théâtre of Luxembourg.

Broadway World had the pleasure of attending the premiere of The Pajama Game, a musical play by author Richard Bissell and George Abbott. Set in 1950s America, it tells the story of a pajama factory where workers are actively demanding a salary raise of seven and a half cents.

One of the last shows of this season was The Quest, by Cédric Eeckhout. A unique take on the history of the European Union and the concepts of family and togetherness, from the eyes of an artist that finds great similarities between his own life and some of the most important dates of the European project. The performance featured Eeckhout himself, the main voice of the show, who resorted to a mix of story-telling and stand-up comedy to deliver a message of struggle and hope for the future of the EU and collective happiness. He was joined on stage by his mother and his cat, Jesus, who supported his delivery and joined him on several group numbers.

Last week, we had the pleasure of attending Jill Crovisier’s JinJeon at the Grand Théâtre of Luxembourg. This one hour performance featured six dancers, including Crovisier herself, and reflected on the impact that technological development has on the human body and mind.

This weekend, we had the pleasure of covering the Ballet Flamenco de Andalucía at the Grand Théâtre of Luxembourg. This was yet another proof of the venue's capacity to present a rich and culturally diverse agenda, gifting the Grand-Duchy with a performance by one of the most renowned companies in Spain. The multiple dancers were joined on stage by the singers and musicians, displaying not only how inclusive and diverse this art style is, but also how connected its multiple elements truly are.

Last week, the Grand Théâtre opened its doors to MacBeth Underworld, an epic opera that revisits one of the world’s greatest and darkest plays.

This weekend, the Grand Théâtre opened its door to Harold Pinter’s Hothouse, the celebrated black comedy made famous in the 1980s.