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The Latest Breaking News from Camilla Greenwell

Sadler’s Wells opens new powerhouse dance theatre with immersive rave

IN FOCUS: Vicki Igbokwe-Ozoagu’s ‘Our Mighty Groove’ brings the party to new £1.1bn East Bank development, writes Lydia Spencer-Elliott

The Independent UK

A Good House at the Royal Court Theatre review: perceptive and provoking fun

4/5 Amy Jeptha’s comedy of capitalism and race isn’t perfect, but it’s raucously funny

Evening Standard

Tales of Hoffman at the Royal Opera House review: an engaging and thought-provoking production

4/5 Surreal sets and exuberant lighting powerfully underscore this engaging trio of love stories

Evening Standard

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The week in theatre: Bluets; People, Places & Things – review

Katie Mitchell directs and Ben Whishaw stars, while David Byrne’s new reign at the Royal Court gets off to a cool start. And Denise Gough is unmissable in a blazing revival of Duncan Macmillan’s addiction drama

The Guardian - UK

The week in classical: La bohème; Family Ties: The Schumanns and the Mendelssohns; Treske Quartet – review

Royal Opera House; Queen Elizabeth Hall; Conway Hall, LondonPuccini’s genius shines through as his centenary year gets under way. Elsewhere, a good week for the Mendelssohns, and a Carrot Revolution

The Guardian - UK

La Bohème review – Angela Gheorghiu reprises a legendary Mimì

This revival of Richard Jones’s 2017 staging sees the diva return to the stage and the role that made her name, and if Gheorghiu doesn’t quite sparkle as she did 30 years ago, there is superb support from her fellow bohemians

The Guardian - UK

Choir Boy review – gospel hymns light up stirring production of Tarell Alvin McCraney’s play

Everyone gets their chance to shine in Nancy Medina’s expressive staging of this drama about sparring prep-school students

The Guardian - UK

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Picture a day like this review – Benjamin’s modern fairytale of sparse and moving beauty

George Benjamin and Martin Crimp’s enigmatic new work tells of a mother mourning the death of her child. If the dramatic pace is a little unvaried, its musical world is luminous and utterly distinctive

The Guardian - UK

The week in classical: La forza del destino; Bayerisches Staatsorchester/ Jurowksi; Chouchane Siranossian – review

Ignore the fanciful plot and submit to the musical glories of the Royal Opera’s bravura revival of unwieldy Verdi. And to the top of the mountain with Vladimir Jurowski and co

The Guardian - UK

La Forza del Destino review – superb voices and slick dance routines for Loy’s reimagined Verdi

Christoph Loy’s 2019 staging staging feels more cogent in this, its first revival, and baritone Etienne Dupuis is stunning as Carlo

The Guardian - UK

Alleyne Dance: Far From Home review – compelling movers roam continents

The Alleyne twins and company incorporate Indian kathak, hip-hop and African and Caribbean dance styles in this distinctive, impressionistic piece about migration and refugees

The Guardian - UK

In the Realms of Sorrow review – a ferocious, fearless start to the London Handel festival

The proximity and movement were thrilling during these staged performances of four Handel cantatas (plus new music by Héloïse Werner). And the playing and singing were phenomenal

The Guardian - UK

Titus Andronicus at the Sam Wanamaker Playhouse review: a bloodless take on Shakespeare’s revenge horror

Each of the play’s 14 deaths are represented by a candle being put out – call it snuff theatre

Evening Standard

Titus Andronicus review – a patriarchy hellbent on self-destruction

Heirs and spares fight under a sleazeball Roman emperor and candles take a hammering in a brilliantly provocative show with an all-female ensemble

The Guardian - UK

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The Guardian - UK

How Did We Get Here? review – Mel C’s dance debut delivers poise and intimacy

The former Spice Girl joins Jules Cunningham and Harry Alexander in a leftfield trio on a quiet, contemplative mission

The Guardian - UK

‘I look like a hot mama in my catsuit!’ – Spice Girl Mel C leaps into modern dance

She rode the heights of superstardom with girl power and karate kicks. Can Sporty Spice cut it as a top-notch dancer? She talks intimate moves, Spice Girls reunions – and why Ginger can buy her own ticket

The Guardian - UK

An explosive act of violence: why Britten’s Rape of Lucretia speaks to our brutal times

Britten’s opera is a strange, unsettling and unbearably private piece. Set in ancient Rome and written over 70 years ago, its theme is still all too contemporary, writes the director of a new production

Evening Standard

Last Days at the Royal Opera House Linbury Studio review: this opera based on Gus van Sant’s film is exemplary

A meditation on a lost soul that could stand for all those who are driven to despair

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The Guardian - UK

Last Days review – Leith’s opera is bleak and beautiful

Oliver Leith’s new work, based on Gus Van Sant’s fictionalised account of the final days of Kurt Cobain, keeps its audience at arm’s length, allowing its dense score to articulate and drive the drama

The Independent UK

Last Days review: Extraordinary Kurt Cobain opera avoids all the clichés Nirvana fans might have predicted

Director Gus Van Sant gave permission for the script of his 2005 film ‘Last Days’ to be used as the inspiration for a new production about the Nirvana frontman. The result, staged at Linbury Theatre, is finely wrought and deserving of accolades

The Guardian - UK

‘Kurt Cobain was a walking paradox’: inside the opera about the star’s final days

It has little plot, the dialogue is mumbled, cereal bowls are a big theme, and a fast-talking cattle auctioneer plays his manager. We meet the team behind the Royal Opera House’s daring new show

The Guardian - UK

Dance legend Alonzo King: ‘People think of love as a sentiment but it’s a force’

The revered American choreographer looks back at his political family life and the inspiration of his mother’s movement ahead of a rare UK production with Rambert

The Independent UK

How playwright Chinonyerem Odimba turned a traumatic memory into musical Black Love

The playwright and director of acclaimed play ‘Black Love’ tells Nicole Vassell about its hurtful origins, the importance of representation in theatre and how sibling love can inform our lives

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