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.
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
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