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From anthropology to cosmology, Knots’ narrative threads science through the needle of emotion and ethics, stitching stories of individuals into the tapestry of a bigger picture.
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I'm so whisked up in the controlled chaos of it all I am not even sure of my own thoughts any more, and all I know is I am suddenly very aware of my own shortcomings as a human. Next to me I hear my companion whisper “What have I done with my life?”
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Perhaps one of the most-adapted works of children’s literature, possibly of literature in general, Lewis Carroll’s Alice’s Adventures in Wonderland seems like material ripe for adaptation to ballet.
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‘Tis the season to be jolly, and The Ensemble ends its 2017 season with a jolly production of Alan Ayckbourn’s silly-arse farce, Taking Steps.
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It is difficult to overstate the magnificence of the opera itself. Faster-moving than Mozart, more true to prevalent theories of drama than Wagner, and without later imitations in almost any respect, it is one of the truly great combinations of music and theatre.
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Bartok’s one-act opera, Bluebeard’s Castle, is a post-Freudian re-working of Charles Perrault’s Barbe Bleu (1697) in which the doors in the castle become the doors into Bartok’s heart.
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How do you pronounce Vale? To rhyme with whale or to rhyme with Calais? It is the former, although argument rages about how it should be pronounced when it means goodbye.
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I've used the word hilarious much throughout this review, but Love & Anger isn't merely funny, it really is hilarious. And genius. If you enjoy lewd comedy with a big heart and a big brain, you need some Grumble in your life. If, however, you're a bit of a prude, still go see this show; it might just fix you up.