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The Latest Breaking News from Tristram Kenton

Manon Lescaut review – Puccini’s desert tragedy gets a surreal rainbow revamp

Jude Christian’s staging for English Touring Opera is colourful and imaginative but lacks critical chemistry and coherence

The Guardian - UK

Lara Ricote review – endearingly offbeat comedy of self-exploration

The fringe award-winner compares her romantic relationship to how she feels about her audience in this mildly evasive investigation of inner knottiness

The Guardian - UK

‘She plumbed our secret, shameful depths’: why are Sarah Kane’s plays still so shocking?

The writer, who took her life 25 years ago this month, wrote five searing dramas that took in everything from despair to love, from mutilation to cannibalism. What was it like to direct or star in them?

The Guardian - UK

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Cavalleria Rusticana/Aleko review – an electrifying double-bill from Opera North

Setting Mascagni’s one-act opera amid the unease of 70s communist Poland, and moving Rachmaninoff’s to a colourful 90s surfing commune, the company does them both delectable justice

The Guardian - UK

The week in dance: Nelken; Dark With Excessive Bright; São Paulo Dance Company – review

A revival of Pina Bausch’s 1982 work is still finding its feet. Plus, full immersion with the Royal Ballet and a rich addition to the international dance scene

The Guardian - UK

Desperate Egypt sells off historic hotels as it dives deeper into debt

Amid biting austerity and rising inflation, the al-Sisi government is off-loading assets – some to a convicted murderer with Emirati cash

The Guardian - UK

Festival of New Choreography review – the Royal Ballet spreads its wings

Impressive new work from Joshua Junker and Mthuthuzeli November pushes dancers well beyond the classical repertoire

The Guardian - UK

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The Barber of Seville review – Miller’s 1987 staging still sparkles

Rossini’s comedy is engaging, warm and witty in this revival of Jonathan Miller’s staging with Charles Rice’s Figaro dominating – as he should

The Guardian - UK

São Paulo Dance Company review – athletic power and sinuous movement

In a triple bill by Spanish and Brazilian choreographers, dancers move in ritualistic unison or launch into flight or just inspire wonder

The Guardian - UK

Rewind review – ingenious portrait of oppression and dissent in Latin America

Ephemeral Ensemble use music, movement and puppetry to astonishing effect in a devastating show about the right to protest

The Guardian - UK

Bronco Billy: The Musical review – Clint Eastwood inspires misfiring caper

Hunter Bird’s often madcap production, based on the 1980 western, has anodyne songs and lacks the film’s weathered perspective

The Guardian - UK

Othello review – Shakespeare’s tragedy interrogated in New Scotland Yard

Ola Ince’s production is set within a hostile modern police force and has DCI Othello’s unconscious portrayed by a second actor

The Guardian - UK

La Strada review – Fellini’s circus becomes a heartfelt ballet

Dancer Alina Cojocaru and choreographer Natalia Horečná bring the 1954 film to the stage but their show loses its way in the second act

The Guardian - UK

The Most Precious of Goods review – a stark fairytale set against the Holocaust

Samantha Spiro conducts listeners urgently through this horrifying story of a baby thrown in desperation from an Auschwitz train

The Guardian - UK

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The Guardian - UK

‘I am not scary!’ A thrilling audience with super-charged soprano Angela Gheorghiu

She calls herself ‘the world’s most glamorous opera star’, and knew, from kindergarten, that her destiny was to be on stage. Can the Romanian diva possibly live up to her reputation? You bet …

The Guardian - UK

Giselle; Les Noces: The Departure review – the shock of the old

English National Ballet dance Mary Skeaping’s 70s reworking of the classic ballet with loving care, while Stravinsky’s revolutionary Les Noces holds its own in an ambitious reworking

The Guardian - UK

The week in classical: Elektra; Jenůfa; Scottish Ensemble with Jasdeep Singh Degun – review

In the hands of two great conductors, high drama and outstanding playing converge in Strauss’s unyielding tragedy and Janáček’s dark masterpiece

The Guardian - UK

Manon review – the Royal Ballet brings beauty to sordid snake pits of Paris

Kenneth MacMillan’s journey into a world of darkness is performed with consummate craft by a superb company

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The Guardian - UK

The many faces of Falstaff: Shakespeare’s tragicomic knight is as complex as Hamlet

Ian McKellen follows in the footsteps of David Warner and Antony Sher as he takes on a character who has been played as wittily jovial and cruelly cunning

The Guardian - UK

‘Things were being thrown at us!’ Is booing at the theatre actually a good thing?

It is one of the most electrifying and unsettling sounds in theatre. Should we be encouraging crowds to do it more? Experts tell us about booing’s origins – and actors remember being on the receiving end of audience outrage

The Guardian - UK

Elektra review – Strauss’s intense and overwrought music drama doesn’t grip as it should

Antonio Pappano brings out every detail of Strauss’s technicolour score but Christof Loy’s static production, boasting star leads, offers few insights

The Guardian - UK

Les Noces – The Departure review: absorbingly renewed marriage bonds

On a catwalk-like stage, the ambitious New Movement Collective celebrate Stravinsky’s peasant wedding with a twist, adding fresh musical compositions to ramp up the atmosphere

The Guardian - UK

Giselle review – English National Ballet keep Romantic magic alive

Version created by Mary Skeaping in 1971 retains its seductive power, ably driven by principals Katja Khaniukova and Aitor Arrieta

The Guardian - UK

Front row at the wedding from hell: a toast to theatre’s marital ding-dongs

Party punch-ups, brides in disguise, simmering family rancour … playwrights have cordially invited audiences to some nightmarish nuptials

The Guardian - UK

Exhibitionists review – bed-hopping comedy of manners is a charmer

Set in San Francisco’s art world, Shaun McKenna and Andrew Van Sickle’s frothy farce brings a contemporary gay twist to an old-school comic formula

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