Reviews

Following on from the success of The Mystery of Edwin Drood last year, Andrew Cockcroft-Penman, musical director Shari Ward and choreographer Jamie Watt, have joined forces once again to create another hit with Joseph and the Amazing Technicolor Dreamcoat.

This imaginative staging of a Lloyd Webber favourite featured a mixture of modern and traditional costumes with a minimalist set with lots of “everyday items” for props.

‘When the hurly-burly’s done,’ chant the Witches in Macbeth, ‘when the battle’s lost and won…’  Playwright David Rabe’s ‘hurly-burly’ is not that of war but one of life lived at accelerated speed, blurred perception and unacknowledged desperation, fuelled by drugs, cynicism and ‘Hollywood’ culture, all creating a kind of alienating fog from which the protagonist, Eddie (Anthony Scundi) struggles to escape.  Set in Los Angeles (or more specifically ‘Hollywood’), it is not ‘about&rsqu

Most theatregoers know Tchaikovsky’s ballets,Swan Lake and The Nutcracker Suite. Eugene Onegin is his most famous opera among avid opera lovers but remains little known generally. Co-Opera has given this opera much love and attention to detail in its most lavish and ambitious production yet.

A lyric opera, it is packed with dramatic moments and very closely follows Alexander Pushkin’s novel, but in verse.

Say the word Aida and it immediately conjures up images of pyramids, animals, huge sets and lavish costumes. Generally known to audiences through Giuseppe Verdi's 1871 opera and based on a story by Egyptologist Auguste Mariette, the tale of star-crossed lovers is in turn loosely based on Shakespeare's Romeo and Juliet.