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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Barry Millington's rating
Reader rating
Dir: Edward Gardner (cond), Daniel Kramer (dir), Michael Keegan-Dolan (dir).
Cast: Clive Bayley (Duke Bluebeard), Michaela Martens (judith), Fabulous Beast
Description: Edward Gardner conducts a double bill of opera and ballet, featuring Bartok's only opera, directed by Daniel Kramer and Stravinsky's dark ballet directed by Michael Keegan-Dolan and performed by Fabulous Beast.
Times: Nov 10, 12, 20, 25, 7.30pm, Nov 14, 28, 6.30pm
Price: £10-£87, concs available
Trains: Tube: Leicester Square/Charing Cross 
, Tube / Bus: 3, 6, 9, 11, 12, 13, 15, 23, 24, 29, 53, 77a, 88, 91, 139 
Phone: 0871911 0200
Website: www.eno.org
Email: access@eno.org
Fritzl parallels: Michaela Martens and Clive Bayley in Béla Bartók’s Duke Bluebeard’s Castle
ENO’s coupling of Bartók’s Duke Bluebeard’s Castle and Stravinsky’s Rite of Spring is unconventional but inspired.
Where Bluebeard throbs darkly with a slow-burning fuse, the Rite pulsates with instinctual life (enhanced here by the physicality of Michael Keegan-Dolan’s choreography). Yet the works have much in common too: barbaric and primeval, both plumb the brutish wellsprings of human nature.
Daniel Kramer’s sinister production of Bluebeard, designed by Giles Cadle, gradually reveals the secretive nobleman to be an obsessive sex-killer, perhaps a Sutcliffe or a West. The fifth door, rather than opening onto expansive domains, is unlocked to expose a dysfunctional Josef Fritzl-like family, fathered by Bluebeard.
There are two problems with the production, however. One is that some of Bluebeard’s gesturing is frankly naff. The other is that his representation as a psychotic serial killer limits the universal resonances of the work: Bluebeard’s dark secrets symbolise the emotional and psychological barriers erected by all men in their relationships with women.
The saturnine presence of the central character is evoked by the aptly sepulchral tones of Clive Bayley, while Michaela Martens is an engaging Judith. Edward Gardner’s conducting of both scores is alert and forceful.
To 28 November. Information: 0871 911 0200; www.eno.org
Details are correct at the time of publication - please check with venue before booking.
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