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A contemporary staging of Handel’s ‘Messiah’
An avant-garde director is using metaphor to convey the narrative of the 18th century oratorio, writes Laura Battle
Cock, Royal Court Theatre Upstairs, London
No one takes their clothes off yet the characters seem terrifyingly naked in this bold, painful and funny drama about the emotional morass of sex, says Sarah Hemming
The Sleeping Beauty, Royal Opera House, London
Yevgenia Obraztsova shines as Aurora, displaying the dance’s brilliancies with unaffected charm, while Sergey Polunin and Steven Mcrae are worthy princes, writes Clement Crisp
The Brother/Sister Plays, Public Theater, New York
Playwright Tarell Alvin McCraney’s language has an authentic lyricism and sensuality, writes Brendan Lemon
Observer, Théâtre de Gennevilliers, Paris
Clare Shine watches a ‘mise en voix’ of the suffering and questioning of those who experienced the atomic bomb at Hiroshima
The Habit of Art, National Theatre, London
Alan Bennett’s play about writing a play about Auden and Britten is rich, meditative, endlessly witty yet ultimately sad, writes Sarah Hemming
Wally Cardona, Brooklyn Academy of Music, New York
Juxtaposing Kierkegaard, spasmic dancing and the sweet voice of youth, the New York choreographer baffles and endears, writes Apollinaire Scherr
La Danse, Film Forum, New York
Frederick Wiseman’s behind-the-scenes film portrait of the Paris Opera Ballet offers a thrilling, sometimes disorientating perspective on dancers and their choreographers, Apollinaire Scherr writes
The Making of Moo, Orange Tree Theatre, Richmond, UK
This play takes the very same kind of position that it seeks to denounce, writes Ian Shuttleworth
Akram Khan, Sadler’s Wells, London
Watching this Indian bharatanatyam dancer, Clement Crisp is reminded how hypnotic and intoxicating great exponents of the style can be





