David Sousa Lopes - Page 3

Last week we had the pleasure of seeing Sopro, a show that might very well have been the most interesting we have covered in 2020.

Our first play of the season was Ibsen’s Hedda Gabler, the realist masterpiece which gave us one of the most psychologically complex characters of the late 19th century.

The perfect mix between sweet and raunchy. A musical widely known for speaking to the heart millennials, a generation struggling with identity and purpose.

This week we had the pleasure of covering Anton Chekhov's Ivanov. This timeless classic was directed by Myriam Muller and presented at the Grand Théâtre for four consecutive nights.

The show we are covering this week is Wim Vandekeybus's TrapTown, a thought-provoking performance composed by multiple artistic elements, brought together on stage to narrate a singular epic tale.

Alone in a dark vessel with a somber past, six strangers begin to put together the real reason that joined their fates, as they fight for survival in the freezing waters of the North.

Session, the curious artistic experiment presented this week at the Grand Théâtre by choreographers Colin Dunne and Sidi Larbi Cherkaoui.

Henrik Ibsen might have written it in the late 19th century, but it remains just as relevant today.

You thought you knew more or less what to expect but, somehow, the entire show turned out to be a very refreshing surprise. Two days ago, the Théâtre des Capucins opened its doors to The Strange Tale of Charlie Chaplin and Stan Laurel, a Told by an Idiot production, written and directed by Paul Hunter.

We would be going against Broadway World's nature, if we were to suggest that we don't have a soft spot for musical theatre. So you know we just couldn't miss this production of Cabaret.

When the Grand Théâtre announced Yves Beaunesne's adaptation of Ruy Blas, we simply could not miss it. Despite our extremely tight schedule these last months, there are things for which you simply have to make time.

We sure have missed covering theatre plays in English. Last Thursday, the Théâtre des Capucins opened its doors to Dealing with Clair, a play by British playwright Martin Crimp, which touches upon multiple social dynamics of 1980s London.

This Friday, the Rockhal opened its doors for the first time to The Dire Straits Experience, a group of first-class musicians performing some of the most famous hits of the rock band Dire Straits.

This Friday, the Grand Théâtre of Luxembourg opened its doors to Michael Thalheimer's version of this famous opera, the first of three nights filled with all the musical strength and philosophic darkness that only Macbeth can provide.

To wrap up our October reviews, some brief words on Xenos a?" the most enticing performance we have seen this season. Akram Khan is back once again to the Grand Duchy, this time with a work reflecting on the horrors of war.

Between the 4th and the 12th of October, the Grand Théatre of Luxembourg opened its doors to a modern and refreshing adaptation of Marivaux's A Game of Love and Chance. This renown romantic comedy was first presented to the public in 1730 and has since then been adapted over the centuries to entertain crowds around the globe.

One of the most expected events of the season. This weekend, the Rockhal was proud to present the singer and songwriter Khalid, a rising star in American music known for his work in R&B and hip hop.

On the 25th of September, the Kinneksbond welcomed Luxembourg to one of the first shows of the 2019-20 theatre season. Broadway World was happy to return to the esteemed venue to watch once again Romain Souchon, who this time performed in the company of Lisa Henn.

On the 26th of September, the Grand Théâtre opened its doors to the show Vivaldi Variations, a project put together by the Spellbound Contemporary Ballet dance company and the musicians of our very own Orchestre de Chambre du Luxembourg, two groups of artists that managed to shed a whole new light on Vivaldi's Four Seasons. The opening event of this season presented a fascinating mix of movement and sound in two parts, one choreographed by Mauro Astolfi and the other by Jean-Guillaume Weis.

Last week, the Grand Theatre opened its doors to one of the last performances of the 2018-19 season. For three days, the main venue of the Grand-Duchy welcomed everyone to Akram Khan's Giselle, one of most acclaimed versions of this epic tale.