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The Bloomsbury Ballerina
Ardent, impulsive ‘Ballet Russes’ star Lydia Lopokova captivated admirers and audiences
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The Lady from the Sea, Arcola Theatre, London
There is more than Ibsen’s usual measured ration of gags in a play whose mythology and melodrama are alien to our notions of the playwright, writes Ian Shuttleworth
Familyman, Theatre Royal, Stratford East, London
This exuberant comedy is a riot from start to finish. It lacks subtlety, but it makes up for its flaws with sheer theatrical zest, writes Sarah Hemming
Golden Globe
The success of Shakespeare’s Globe has astonished British and North American arts circles, but it was never meant to be anything other than an authentic Elizabethan playhouse
Madness in court and country
The staging of Shakespeare's history plays – Henry VI Parts 1-3 and Richard III – at the Roundhouse makes the cycle feel like a civic event of sorts, with a sense of the audience bearing witness as citizens to the narrative of the state, writes Ian Shuttleworth
Les Troyens, Symphony Hall, Boston
Levine, who conducts with apparent new resources of energy, has become more detail-oriented, while still moving the music along with customary confidence, writes George Loomis
Lohengrin, Grand Théâtre, Geneva
Daniel Slater’s approach recalls Robert Carsen’s much-revived version for the Paris Opera, but there is no swan and Lohengrin is a muddied traveller, writes Francis Carlin
Ballet Boyz, Sadler’s Wells, London
‘Mesmerics’ uses the darkness of a Philip Glass string quartet for encounters between five dancers, which open out into haikus of feeling and energy, writes Clement Crisp
Thurgood, Booth Theatre, New York
Even when this story of Thurgood Marshall descends into a recitation of its subject’s achievements, actor Laurence Fishburne makes them seem epochal, writes Brendan Lemon
Birmingham Royal Ballet Triple Bill, The Lighthouse, Poole
Sir Frederick Ashton’s ‘Dante Sonata‘, Kit Holder’s ‘Small Worlds’ and Kenneth MacMillan’s ‘Elite Syncopations’ made an attractive programme, writes Gerald Dowler
Tamerlano, Washington National Opera
From his first contemptuous glance at his guards when emerging from a subterranean cell, Domingo’s performance has a lot more going for it than just age, writes George Loomis
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