Camilla Greenwell
Latest News on Camilla Greenwell:
Review: AKRAM KHAN'S GISELLE, Sadler's Wells (Sep 21, 2024)
Review: LA TRAVIATA, Royal Ballet And Opera (Sep 9, 2024)
Review: BLUETS, Royal Court (May 27, 2024)
Review: AKRAM KHAN'S GISELLE, Sadler's Wells (Sep 21, 2024)
Review: LA TRAVIATA, Royal Ballet And Opera (Sep 9, 2024)
Review: BLUETS, Royal Court (May 27, 2024)
News
Review: AKRAM KHAN'S GISELLE, Sadler's Wells
Whatever you do, don’t ignore the signs. The posters outside the auditorium alerting audiences to the “very loud music” are not being overly cautious. Quite the opposite. With its ear-splitting drums and a rumbling bass that rolls across the room juddering through our bodies, this Giselle’s effect relies as much on sound as the dancing.
Whatever you do, don’t ignore the signs. The posters outside the auditorium alerting audiences to the “very loud music” are not being overly cautious. Quite the opposite. With its ear-splitting drums and a rumbling bass that rolls across the room juddering through our bodies, this Giselle’s effect relies as much on sound as the dancing.
Review: BLUETS, Royal Court
Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry
Review: CYCLES, Barbican Centre
With their new work Cycles, it is clear that Boy Blue are at something of a crossroads.
With their new work Cycles, it is clear that Boy Blue are at something of a crossroads.
Review: LUCIA DI LAMMERMOOR, Royal Opera House
Nadine Sierra’s enthralling central performance helms this nerve-jangling revival.
Nadine Sierra’s enthralling central performance helms this nerve-jangling revival.
Review: CARMEN, Royal Opera House
An old favourite brings the passion and the pain with beautiful singing and convincing acting
An old favourite brings the passion and the pain with beautiful singing and convincing acting
Review: GIANT, Royal Opera House
Where does a body start and a human being end? The story of Charles Byrne, the so-called “Irish Giant” is the diving board off of which Composer Sarah Angliss’ debut opera leaps
Where does a body start and a human being end? The story of Charles Byrne, the so-called “Irish Giant” is the diving board off of which Composer Sarah Angliss’ debut opera leaps
Review: RAMBERT / BEN DUKE - DEATH TRAP, Sadler's Wells
Two very different performances, Cerberus and Goat, from Rambert, deliver a meta dance comedy exploring life, death and performance.
Two very different performances, Cerberus and Goat, from Rambert, deliver a meta dance comedy exploring life, death and performance.
Review: JUNGLE BOOK REIMAGINED at Ottawa's National Arts Centre
What did our critic think of JUNGLE BOOK REIMAGINED at National Arts Centre?
What did our critic think of JUNGLE BOOK REIMAGINED at National Arts Centre?
Photos: First Look At CHOIR BOY At Bristol Old Vic
See production photos for the UK revival of Choir Boy, Nancy Medina's directorial debut as Artistic Director of Bristol Old Vic.
See production photos for the UK revival of Choir Boy, Nancy Medina's directorial debut as Artistic Director of Bristol Old Vic.
Young Associates Mixed Bill Comes to The Lilian Baylis Studio Next Month
Sadler's Wells presents the first public sharing of new work by the 2023/24 Young Associates BLUE MAKWANA, Elisabeth Mulenga, Maiya Leeke and Roseann & Sula in the Lilian Baylis Studio this November.
Sadler's Wells presents the first public sharing of new work by the 2023/24 Young Associates BLUE MAKWANA, Elisabeth Mulenga, Maiya Leeke and Roseann & Sula in the Lilian Baylis Studio this November.
Review: PICTURE A DAY LIKE THIS, Royal Opera House
George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence
George Benjamin's slick new opera plays at the Royal Opera House after a critically acclaimed run at Festival d'Aix-en-Provence
Review: LA FORZA DEL DESTINO, Royal Opera House
Sondra Radvanovsky, Brian Jagde and Etienne Dupuis lead a wonderful cast and orchestra in a near-overwhelming production that fully justifies its four hours running time
Sondra Radvanovsky, Brian Jagde and Etienne Dupuis lead a wonderful cast and orchestra in a near-overwhelming production that fully justifies its four hours running time
Interview: Charlotte Darbyshire of I THINK WE SHOULD START OVER at Fall For Dance North
This year, FALL FOR DANCE NORTH features Candoco, a company that has created an international conversation around disability and dance. BroadwayWorld Toronto spoke to Charlotte Darbyshire, Candoco’s artistic director, to continue this conversation in advance of the company’s Canadian debut.
This year, FALL FOR DANCE NORTH features Candoco, a company that has created an international conversation around disability and dance. BroadwayWorld Toronto spoke to Charlotte Darbyshire, Candoco’s artistic director, to continue this conversation in advance of the company’s Canadian debut.
Review: WOMAN AT POINT ZERO, Royal Opera House
Unique production defies easy categorisation, but thrills and appals to live long in the memory
Unique production defies easy categorisation, but thrills and appals to live long in the memory
Review: IL TROVATORE, Royal Opera House
Adele Thomas' new production is a rollicking clash of carnivalesque weirdness and heartfelt desire.
Adele Thomas' new production is a rollicking clash of carnivalesque weirdness and heartfelt desire.
Review: RUSALKA, Royal Opera House
A fish out of water tale that reflects our uneasy relationship with nature
A fish out of water tale that reflects our uneasy relationship with nature
Review: TITUS ANDRONICUS, Shakespeare's Globe
Jude Christian's visually stunning take on this goriest of stories from Shakespeare is bound to raise more than a few eyebrows. In a gender reversal of what likely took place on its first outing, this production has an all-female cast committing the heinous murders. The many, many deaths are portrayed by candles being snuffed out. This may be set in ancient Rome, but the dress code here is pyjamas and, in place of lyres and pan pipes, the music here consists mainly of darkly comic songs. A classic interpretation? Hardly
Jude Christian's visually stunning take on this goriest of stories from Shakespeare is bound to raise more than a few eyebrows. In a gender reversal of what likely took place on its first outing, this production has an all-female cast committing the heinous murders. The many, many deaths are portrayed by candles being snuffed out. This may be set in ancient Rome, but the dress code here is pyjamas and, in place of lyres and pan pipes, the music here consists mainly of darkly comic songs. A classic interpretation? Hardly
Review: THE MAGIC FLUTE, Royal Opera House
As the wrangles continue over the funding of the arts in general – and London opera in particular – up pops David McVicar’s The Magic Flute to show just what the fuss is all about. @royaloperahouse #opera
As the wrangles continue over the funding of the arts in general – and London opera in particular – up pops David McVicar’s The Magic Flute to show just what the fuss is all about. @royaloperahouse #opera
Review: RUINATION, Royal Opera House
The concept of a Greek tragedy as a Christmas show may seem contrary or unusual, but in fact this entire performance is built on such contradictions.
The concept of a Greek tragedy as a Christmas show may seem contrary or unusual, but in fact this entire performance is built on such contradictions.
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