Camilla Greenwell
Latest News on Camilla Greenwell:
Review: A GOOD HOUSE, The Royal Court (Jan 18, 2025)
Review: LAST RITES, The North Wall Arts Centre (Jan 17, 2025)
Review: JENŮFA, Royal Ballet And Opera (Jan 16, 2025)
Review: A GOOD HOUSE, The Royal Court (Jan 18, 2025)
Review: LAST RITES, The North Wall Arts Centre (Jan 17, 2025)
Review: JENŮFA, Royal Ballet And Opera (Jan 16, 2025)
News
Review: A GOOD HOUSE, The Royal Court
A case of never being more than the sum of its parts, even if those parts have promise in themselves.
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
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.
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
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.
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
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.
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
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.
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
Damiano Michieletto brings plenty of pizzazz to Offenbach's crowdpleaser, but wastes some of his on-stage talents
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
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.
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
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
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