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FORGOTTEN HISTORY: 5 - Caught on Camera

Ariadne auf Naxos review – austere staging makes room for the riches of Strauss

Natalya Romaniw’s Ariadne shines in an unfussy production that is, at its best, breathtakingly effective and beautiful

The Guardian - UK

Royal Ballet triple bill review – McGregor and Wheeldon at the top of their game

Wayne McGregor’s incisive new ballet conjures the very brushstrokes of the late Carmen Herrera; Bernstein meets Les Sylphides in a muscular Christopher Wheeldon revival; ; and Laura Morera bows out in style

The Guardian - UK

‘Don’t be frightened of chaos’: Mark Rylance answers questions from readers and famous fans

The revered actor, passionate activist and I Ching devotee fields queries on self-doubt, levelling up the arts, and turning loss into beauty

The Guardian - UK

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Rufus Norris has made the National Theatre more diverse – on both sides of the curtain

The director, who has announced he is stepping down, should be credited for opening up the organisation and steering it through the Covid crisis. Now, who’s next for the NT job?

The Guardian - UK

42nd Street review – frivolous fantasy given punch, precision and panache

This classic song-and-dancer directed by Jonathan Church has a tight ensemble cast and sunny vibes throughout

The Guardian - UK

The week in theatre: Aspects of Love; Rose; The Shape of Things – review

A superb cast, including opera star Danielle de Niese, elevates Andrew Lloyd Webber’s plodding 80s musical; Maureen Lipman gives a one-woman masterclass; and Neil LaBute’s romcom gets a sharp, funny revival

The Guardian - UK

‘They don’t know the rules’: actors hit back at theatregoers phoning, drinking and fighting

What’s it like to star in a play when audience members watch football, ring friends, open lagers or pass round entire chickens? Actors vent their anger at the ‘Netflix mindset’ of the new post-Covid generation

The Guardian - UK

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Encore! Surefire shows returning for the Edinburgh festival in 2023

In the run-up to the festival, our writers will choose new productions that have caught their eye – but here’s a selection of those we’ve already reviewed

The Guardian - UK

Aspects of Love review – a preposterous blast from the past

Michael Ball returns to sing Love Changes Everything, this time as the uncle, in Andrew Lloyd Webber’s musical of romantic entanglements

The Guardian - UK

A Midsummer Night’s Dream review – giddy shenanigans with a brilliantly chaotic Puck

This bright, bold show tries to balance humour and darkness but tends to land on the silly side of things

The Guardian - UK

Wozzeck review – Gerhaher’s victim shuffles towards disaster in nuanced staging

Deborah Warner’s focused and vivid new production avoids caricature, and, with superb singing and Antonio Pappano’s conducting, drama and music dovetail perfectly

The Guardian - UK

A Brief List of Everyone Who Died review – a lifetime of loss

From childhood pets to octogenarian friends, playwright Jacob Marx Rice addresses mortality in a warm and thoughtful play

The Guardian - UK

Turbocharge philanthropy, conga to Beethoven, ditch the ukuleles: 10 ways to save classical music

After cuts by Arts Council England and the BBC, Simon Rattle says UK opera houses and orchestras have never faced greater peril. How can they fight back? Top musicians outline their battle plans

The Guardian - UK

UniVerse: A Dark Crystal Odyssey review – earth, air, fire and water send a powerful message in Wayne McGregor premiere

This bleak but powerful meditation on our ailing planet combines dance, poetry, film and music to startling effect

The Guardian - UK

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The Guardian - UK

Skid/Saaba review – speed, struggle and surrender on a steep slope

GöteborgsOperans Danskompani’s versatile dancers tumble, slide and climb in Damien Jalet’s vertiginous piece then switch to more measured movements by Sharon Eyal

The Guardian - UK

Violin virtuoso joins ‘real battle’ to save classical music from UK funding cuts

Soloist Nicola Benedetti has added her voice to those speaking up for a genre now facing severe financial constraints

The Guardian - UK

Candy Gigi: Friday Night Sinner! review – all-out bid for showbiz glory

Torn between wifely duty and her dream to become ‘the Jewish Barbra Streisand’, this would-be star finds an in-between world of outrageous comedy

The Guardian - UK

August in England review – Lenny Henry’s remarkable one-man show about the Windrush scandal

The actor makes his debut as a playwright with a richly detailed character study, performing with warm humour and outrage at injustice

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The Guardian - UK

The week in classical: Blue; Bach: Mass in B Minor – review

A potent US tale of Black lives hits home with fervour and humanity at ENO. Plus shock and roar from John Eliot Gardiner at 80

The Guardian - UK

Symphony of Sorrowful Songs review – Gorecki’s triptych retains its visceral power in thoughtful staging

Isabella Bywater’s production for ENO of Henryk Górecki’s popular Third Symphony is effective and affecting, with conductor Lidiya Yankovskaya’s reading refreshingly unsentimental

The Guardian - UK

Dixon and Daughters review – comic domestic noir reveals grim shadows

When Mary returns home from prison, there is both humour and horror in store, as Deborah Bruce’s play explores a cycle of abuse

The Guardian - UK

Jules and Jim review – an affecting love triangle but no match for Truffaut

While there is compassion and curiosity in Timberlake Wertenbaker’s adaptation, this production lacks the whirlwind quality of Roché’s novel and the film

The Guardian - UK

Somerset Maugham: a wily playwright of light dramas and weighty morals

A new revival of The Circle is a reminder of a dramatist who smuggled vital messages into broad crowdpleasers

The Guardian - UK

The week in classical: Innocence; Sakari Oramo/BBCSO; Explore Ensemble – review

A big week for Finnish music and musicians led by Kaija Saariaho’s powerful opera about a school shooting, and a thrilling Bartok performance

The Guardian - UK

Blue review – racial violence, love and loss in a lyrical and angry work of unflinching power

Jeanine Tesori’s opera, with its tragically familiar narrative of police brutality, is compellingly told in Tinuke Craig’s nuanced production for English National Opera.

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