This summer’s Sofia Opera Wagner Festival was bookended by performances of Richard Wagner’s Tannhäuser so it was fitting to see a winter revival from director Plamen Kartaloff and a lovely prelude to next summer’s Wagner Festival where it will once again feature alongside Der Ring des Nibelungen. Tannhäuser (Martin Iliev) awakens in Venus’ (Radostina Nikolaeva) embrace at her cave where she reveals to him the wonders of her kingdom, but when he utters the name of the Holy Mary, her spell is broken.

Cheek by Jowl do what they do best as director Declan Donnellan and designer Nick Ormerod thrust us into the heart of Euripides' great tragedy with an intelligent and immersive in-the-round production which takes the challenges of an ancient past and reimagines them in the here and now, with this production performed in Bulgarian, translated from the Greek by Dorothea Tabaskova, and with English surtitles, translated from the Greek by Lucinda Dawkins.

The term legacy is often over used but the work of experimental theatre director Robert Wilson who sadly passed away earlier this year is rightfully celebrated with his production of Shakespeare's celebrated play that lends itself perfectly to his innovative exploration of time and space on stage. Opening to the travails of a ship at sea, we meet Prospero (Vesslin Mezekliev) and his daughter Miranda (Zhaklin Daskalova), and learn how 12 years ago his brother, with assistance from Naples, had usurped him as Duke of Milan.

Dylan Evans’ revival of Otto Schenk’s masterpiece brings the glamour and enchantment of 19th Century Vienna back to the Met with Strauss’ elegant romantic lyric comedy in three acts. Count Waldner (Brindley Sherratt) and his wife, Countess Adelaide Waldner (Karen Cargill) have fallen on hard times, much because of his love of gambling and her loftier aspirations, although a fortune teller (Eve Gigliotti) suggests things may be about to change by marrying their eldest daughter into money.

Director Olivia Fuchs and Choreographer Marcus Jarrell Willis combine perfectly with this fourth major collaboration between Opera North and Phoenix Dance Theatre delivering an all-too prescient take on Handel’s celebrated Biblical operetta whose themes of chastity, integrity, and corruption are explored in terms of power, gender, and judgement. Susanna (Anna Dennis) and Joacim (James Hall) celebrate their love for one another while her father, Chelsias (Matthew Brook), shares in their happiness, before Joacim is called away on business leaving Susanna with a sense of foreboding.

Phyllida Lord’s classic production, designed by Anthony Ward, is one of the longest running at Opera North having been in their repertoire since 1993. James Hurley’s current revival is big on the comedy but sadly fails to hit the high notes that this staple of the operatic calendar deserves. With the action transposed to late 1950’s Paris, we meet four struggling bohemians living in a garret: a poet, Rodolfo (Anthony Ciaramitaro); a painter, Marcello (Yurly Yurchuk); a philosopher, Colline (Han Kim); and a musician, Schaunard (Seán Boylan), who arrives having had some good fortune and they agree to celebrate by dining at Café Momus.

Mirabelle Ordinaire’s revival of Franco Zeffirelli’s rich and sumptuous 1981 production is epic on every level, as it visualises the musical textures of Puccini’s timeless masterpiece that tells of love, friendship, and death in 1830’s Paris. It is Christmas Eve when we meet four struggling bohemians living in a garret: a poet, Rodolfo (Freddie De Tommaso); a painter, Marcello (Lucas Meachem); a philosopher, Colline (Jongmin Park); and a musician, Schaunard (Sean Michael Plumb) who arrives having had some good fortune and they agree to celebrate by dining at Café Momus.

In 1476, Florence buried a 22-year-old beauty. For centuries, her face would haunt the world’s most celebrated masterpieces. Venus rising from the sea? Her face. Spring goddess in Primavera? …

Based on a 1789 French ballet originally created by Jean Dauberval, Frederick Ashton’s final full-length ballet for The Royal Ballet premiered in 1960, with this the 377th performance by The Royal Ballet at the Royal Opera House. Inspired by his love for the Suffolk countryside, the piece is set on a farm and tells the story of the burgeoning love between Lise (Francesca Hayward), the daughter of Widow Simon (James Hay), and Colas (Marcelino Sambé), a local farmer.

No Woman’s Land is a powerful and engaging one-woman performance from Ciara O’Neill that blends verbatim theatre and storytelling to bring to life the voices of Belfast’s women activists. Developed through a series of interviews conducted in October 2024, the piece weaves together biographical accounts that illuminate the city’s vibrant feminist legacy. As a work in progress – although it was far more than that – this review contains observations for consideration as part of the ongoing development process.

English National Opera’s first official foray North sees director and designer Antony McDonald delightfully serve up Britten’s 1947 witty comic opera Albert Herring exposing the whimsy and hypocrisy at the heart of post-war British society. Lady Billows (Emma Bell) and her committee’s – aide Florence Pike (Carolyn Dobbin), headteacher Miss Wordsworth (Aoife Miskelly), vicar, Mr Gedge (Eddie Woods), Mayor, Mr Upfold (Mark Le Brocq), and Superintendent Budd (Andri Björn Róbertsson) of the local constabulary – attempts to identify a May Queen for the village come unstuck as they realise all the local girls are lacking the necessary virtuosity.

Opera tenor Rolando Villazón’s directorial debut at The Met hits the high notes with Bellini’s infrequently staged opera about a young woman who sleepwalks, in this co-production with the Royal Ballet and Opera that was delayed from the pandemic-struck 2020-21 season. Photo: Marty Sohl The orphan Amina (Nadine Sierra) is about to marry Elvino (Xabier Anduaga), a wealthy landowner. Lisa (Sydney Mancasola), the innkeeper, is jealous as she also loves Elvino.

The width of the United States railways (distance between 2 rails) is 4 feet and 8.5 inches which is an unusually odd number. So, why was that gauge used? Well, Because this was the measure of the …

Director Rosetta Parker is guilty as charged for delivering the perfect murder drama with this production of Hugh Janes’ adaptation of a Jeffrey Archer short story. Set in England, the play centres around the murder of a young woman, and as the drama unfolds, it becomes clear that John (Peter Cliffe) is somehow involved in it and he confesses as such to his wife, Elizabeth (Tracey Duffy), who is determined to keep him out of prison.

Inspired by the late Graeme Phillips, finessed by director Elinor Randle, and produced by Peter Ward, That Theatre Group CIC’s production of Jean Genet’s The Maids, translated by David Rudkin, is a masterly tour de force and a fitting tribute to a man who did so much for theatre in Liverpool. With their mistress (Jane Hogarth) away, two male maids, Solange (Samuel Perez Duran) and Claire (Cameron McKendrick) plunge into their darkest fantasies, in a twisted game, simmering with sexual tension, unravelling questions of modern slavery, gender identity, and power.

Artist and director Marina Abramović presents her most ambitious work yet with this stunning four-hour immersive experience that draws upon her Slavic roots and culture to explore the eroticism, spirituality and traditions of her homeland. A brass band leads us up into the hall where we witness a funeral lament for Josip Broz Tito, former Communist leader of Yugoslavia, before a further twelve visceral scenes are revealed around us, with audiences free to choose their own path.

Gareth Farr’s 2011 Bruntwood Prize winning play is a brutal and gritty account of a young man’s journey from the cold, wet beaches of Blackpool to the dry, burning deserts of Afghanistan and it takes no prisoners along the way. It’s a tough but important story to listen to and a sad reflection on society that its message still resonates so strongly some fifteen years on.

Director Oliver Mears triumphs with this modern-day interpretation of Puccini’s full-blooded three-act drama of politics and power with its many allusions to global current affairs to the fore. In a war-torn Rome, Floria Tosca (Anna Netreba) and Mario Cavaradossi (Freddie De Tommaso) live for each other and for their art. But when Cavaradossi helps an escaped prisoner, Cesare Angelotti (Ossian Huskinson), the lovers make a deadly enemy in the form of Baron Scarpia (Gerald Finley), Chief of Police.

Haha, haha… welcome to a funny peculiar comedy, and it needs to be full of laughs as Maggie’ tragic tale unfolds. What does she have to live for after all? About a year since her beloved Nan died, she has no friends, her sister is a bitch - her mother an even bigger one. She ricochets between clearing out the house where her grandmother brought her up, karaoke evening at the Blue Anchor and a therapist with problems of his own.

I’m a long-time fan of director Ellie Hurt – all the way back to The B Collective days – and was looking forward eagerly to her return to Liverpool Everyman with her contemporary take on Shakespeare, but I left with a heavy heart after this production which whilst showing glimpses of her talent, felt undermined by other factors which were perhaps beyond her control.

Writer and director Pauline Fleming’s tale of Oxton’s very own Gentleman Jack in this original production from Depth Training CIC hints at the intrigue and suspense behind an array of secret relationships during the restrictive Victorian era but doesn’t really get beneath the surface of its two primary characters enough for my liking and their passionate, rule-defying romance. Jessie Gavin (Gabriella Tavini), an artist from the Wirral, escapes the expectations of her upbringing to pursue the freedom of artistic circles in London and Paris.

Whilst it’s not customary to review the same production, a couple of key cast changes, a new venue, and the omission of the supporting orchestra meant that director Sarah Helsby-Hughes would have to overcome some challenges with Flat Pack Music’s ingenious re-setting of one of Mozart’s most complete operas to La Dolce Vita of 1960’s Italy: she was not to disappoint.

If you put 100 black ants and 100 red ants in a jar, nothing happens. But if you shake the jar hard, they start fighting until they destroy each other. The red ants think the black ants are the ene…

Often played as tragedy with revenge at its heart, director James Tobias has opted to play this adaptation of William Shakespeare’s The Tempest more for laughs which means that this tale of forgiveness, generosity, and enlightenment has more of a pantomime feel to it than the supernatural and mysterious. Opening to the travails of a ship at sea, we meet Prospero (Andrew Pearson-Wright) and his daughter Miranda (Katie Hamilton), and learn how 12 years ago his brother, with assistance from Naples, had usurped him as Duke of Milan.

Sarah Helsby-Hughes’ direction is inspired as we embrace La Dolce Vita of 1960’s Italy in Flat Pack Music’s ingenious and comic interpretation of one of Mozart’s most complete operas as part of the De Mowbray Music Festival in Thirsk. Don Giovanni (Richard Walshe) has seduced over two thousand women, all catalogued by servant Leporello (Hamish Garrity), and he is looking to add another name with his attempted rape of Donna Anna (Carrie-Ann Williams) that results in him killing her father, the Commendatore (George Elson), and which her fiancé Don Ottavio (Joseph Buckmaster) swears to revenge.