Camilla Greenwell

Review: CONTAINER, New Diorama Theatre
by Franco Milazzo - Apr 7, 2025

Unlike the object it is named after, Container studiously avoids fripperies like classical forms and categorisation. With nods to immigration, social media, California fires and the ongoing deluge of news from every angle, this is a work that merrily crosses thematic boundaries like a jaywalker after a fun night out.

BroadwayWorld UK's Olivier Awards 2025 Predictions
by BWW UK Critics - Apr 4, 2025

Established in 1976, the Olivier Awards celebrate the world-class status of London theatre, and are Britain’s most prestigious stage honours. Leading the way this year is Tom Scutt's Fiddler on the Roof which matches Hamilton's record-breaking 13 nominations, represented in every acting and creative category.

Review: IL TROVATORE, Royal Ballet And Opera
by Michael Higgs - Feb 27, 2025

An animated revival of Adele Thomas’s 2023 production, Il Trovatore strays from realism and instead focuses on a symbolic reading of this dark and gritty opera. With macabre medieval costumes, eery effects and a brilliant cast, it’s an unnerving experience.

Review: LIGHT OF PASSAGE, Royal Ballet And Opera
by Louise Penn - Feb 21, 2025

Crystal Pite’s deeply moving work has themes of safe passage, displacement, community and mortality. Light of Passage, taken as a whole work with the three sections together, builds into a cohesive whole on the theme of who we are, where we are going, and what we feel. Although there are moments of repetition and the occasional sense of the abstract, I did find that Light of Passage succeeds on an emotional level in reaching an audience, who cheered enthusiastically by the curtain call.

Review: HEKA, The Place
by Franco Milazzo - Feb 2, 2025

After Gandini Jugglers went all retro on us last year by bringing back their classic outing Smashed, the sine qua non of British circus return with a brand new show Heka.

Review: A GOOD HOUSE, The Royal Court
by Alexander Cohen - Jan 18, 2025

A case of never being more than the sum of its parts, even if those parts have promise in themselves.

Review: LAST RITES, The North Wall Arts Centre
by Niamh Jones - Jan 17, 2025

Have you ever really stopped to consider the significance of sound, of speech, on everyday life… on theatre? Many of us take these things for granted, yet Ad Infinitum’s new play throws the realities of being deaf into sharp relief.

Review: JEN�®FA, Royal Ballet And Opera
by Alexander Cohen - Jan 16, 2025

It’s a mistake to dismiss Claus Guth’s production of Janacek’s Jenůfa as symbolically overwrought and interminably grey. Look closer and you’ll discover a duality to each beguiling appearance.

Review: RUINATION, Royal Ballet and Opera
by Franco Milazzo - Dec 8, 2024

In a season where theatres are filled with the usual hoary horde - here a Christmas Carol, there a Nutcracker or Messiah - the Royal Opera House deserves praise and maybe even a standing ovation for bringing back its Yuletide hit from 2022. Ben Duke’s Ruination (a co-production between the Royal Ballet and his Lost Dog company) is perfect for this time of year, being a work about reflecting on the recent past and built around the notions of love, family and children. Then again, those expecting something cheery may also want to consider that the source material is Euripides’s Medea, a Greek tragedy that makes Titus Andronicus look like an episode of Bluey.

Review: IN THE BUSHES at Grand Théâtre
by David Sousa Lopes - Nov 29, 2024

This weekend, we had the pleasure of covering In the Bushes, a dance performance directed by Léa Tirabasso, one of Luxembourg's most prominent artistic figures.

Review: THE TALES OF HOFFMANN, Royal Ballet and Opera
by Gary Naylor - Nov 8, 2024

Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents

RUINATION to be Presented by The Royal Ballet & Lost Dog
by Chloe Rabinowitz - Nov 7, 2024

The Royal Ballet and Lost Dog present the first revival of Ruination, an alternative Christmas dance show taking place throughout the festive period. Learn how to purchase tickets.

Review: AKRAM KHAN'S GISELLE, Sadler's Wells
by Franco Milazzo - Sep 21, 2024

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: LA TRAVIATA, Royal Ballet And Opera
by Alexander Cohen - Sep 9, 2024

Heavily reliant on strong vocals

Review: BLUETS, Royal Court
by Alexander Cohen - May 27, 2024

Katie Mitchell returns to the Royal Court with a curious but dense adaption of Maggie Nelson's poetry

Review: CYCLES, Barbican Centre
by Franco Milazzo - May 2, 2024

With their new work Cycles, it is clear that Boy Blue are at something of a crossroads.

Review: LUCIA DI LAMMERMOOR, Royal Opera House
by Alexander Cohen - Apr 22, 2024

Nadine Sierra’s enthralling central performance helms this nerve-jangling revival.

Review: CARMEN, Royal Opera House
by Gary Naylor - Apr 6, 2024

An old favourite brings the passion and the pain with beautiful singing and convincing acting

Review: GIANT, Royal Opera House
by Alexander Cohen - Mar 9, 2024

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
by Alice Cope - Nov 24, 2023

Two very different performances, Cerberus and Goat, from Rambert, deliver a meta dance comedy exploring life, death and performance.