thu 21/11/2019

London Coliseum

Orphée, English National Opera review – through a screen darkly

Like almost everything that it touches these days, English National Opera’s autumn season of shows rooted in the Orpheus myth has enjoyed a fairly mixed reception. The company’s programme of visits to the Underworld concludes with another high-risk...

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The Mask of Orpheus, English National Opera review - amorphous excess

Advance publicity overstated the case for The Mask of Orpheus. "Iconic"? Only to academics and acolytes, for British audiences haven't had a chance to see a production since ENO's world premiere run in 1986. "Masterpiece"? Sitting there after the...

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Orpheus in the Underworld, English National Opera review – ENO goes to hell

Maybe some British opera houses just don’t get operetta. Without wit, lightness and snappy pace, cudgelling us with desperate relevance, the frothiest works crash to earth stone cold dead. There have been disasters elsewhere, too, though...

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Orpheus and Eurydice, English National Opera review – imaginative but underwhelming

English National Opera chose a curiously low-key production to open their season. Gluck’s Orpheus and Eurydice has only three singing roles and very little action. For this production, Wayne McGregor has reimagined the work as an opera/dance hybrid...

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On Your Feet!, London Coliseum review - Gloria Estefan bio-musical hits familiar notes

This well-meaning biographical jukebox musical about icons Gloria and Emilio Estefan, which did two years on Broadway and a US tour, is good summer scheduling, what with its Latin-pop bangers, infectious dance routines and “Dreams come true”...

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Man of La Mancha, London Coliseum review - historical work better left in the past

English National Opera continues its run of semi-staged musicals, in commercial collaboration with Grade Linnit, with a revival of this vintage oddity. Mind, commercial might be a stretch, as Dale Wasserman, Joe Darion and Mitch Leigh's 1965 work –...

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Jack the Ripper: The Women of Whitechapel, English National Opera review - powerful ensemble, wrong subject

If you can’t put a name to any of Jack the Ripper’s victims – and spin it however you please, victims they remain – then you shouldn’t buy the publicity about this new opera "bringing dignity back" to the murdered women in question. Isn’t it time to...

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Swan Lake, English National Ballet, London Coliseum review - a solid, go-to production

Diversity, and the need for more of it, is a hot potato in the theatre arts. Kudos, then, to English National Ballet and its director Tamara Rojo for the 23 nationalities represented within its ranks. And for the poster advertising the company’s...

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Salome, English National Opera review - a not so terrible stillness

Sibling incest among the symbolic clutter of the Royal Opera Ring on Wednesday, last night necrophilia and a bit more incest – mother and daughter this time, courtesy of the director's imagination – in a stone-cold ENO Salome. Adena Jacobs'...

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Kiss Me, Kate, Opera North, London Coliseum review - Cole Porter delivered in true company style

First palpable hit of the evening: a full orchestra in the pit under hyper-alert Opera North stalwart James Holmes, saxophones deliciously rampant. Second hit: they've got the miking of the voices right (very rare in West End shows). Third: the...

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The Sleeping Beauty, London Coliseum review - a triumph for English National Ballet

When Tamara Rojo won the top job at English National Ballet in 2012, it looked like a poisoned chalice. Directors had come and gone, some of them with visionary ideas, but all were defeated by the company’s peculiar position as underdog to the...

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Chess, London Coliseum review - powerfully sung but still problematic

Its origins as a concept album cling stubbornly to Chess, the Tim Rice collaboration with the male members of ABBA first seen on the West End in 1986 and extensively retooled since then in an ongoing quest to hit the elusive jackpot. Following hot...

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