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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: William Christie (cond).
Cast: Glyndebourne Festival Opera, Lucy Crowe (sop), Claire Debono (sop), Anna Devin (sop), Carolyn Sampson (sop), Robert Burt (ten), Ed Lyon (ten), Andrew Foster-Williams (bs-bar), Glyndebourne Chorus, Orchestra of the Age of Enlightenment
Description: William Christie conducts the chorus and orchestra in Purcell's masque opera based on Shakespeare's play. With sopranos Lucy Crowe, Claire Debono, Anna Devin and Carolyn Sampson, tenors Robert Burt and Ed Lyon, and bass-baritone Andrew Foster-Williams.
Sexy physicality: Desmond Barrit as Bottom and Sally Dexter as Titiana in The Fairy Queen
Astonishing as it may seem, there has been no Purcell at Glyndebourne since Janet Baker’s debut as Dido in 1966. Financial considerations may have played a part. With its masques superimposed onto Shakespeare’s A Midsummer Night’s Dream, its cast of singers and dancers, lavish sets and flying machines, the Fairy Queen has strained resources since its first outing in Dorset Garden in 1692.
But “I know a bank”, intones Oberon prophetically. By casting young people as singers and dancers, conductor William Christie and director Jonathan Kent ensure sexy physicality from characters clad or semi-clad fetchingly in white.
Paul Brown’s ingenious sets, ravishingly lit by Mark Henderson, sustain interest over a long evening, as do Kent’s inventive direction and Kim Brandstrup’s choreography. The randy rabbits and Thisbe’s errant false boob should go down well when this enjoyable show comes to the Proms on 21 July.
Christie’s conducting of the OAE is similarly inspired and there’s fine singing, from Lucy Crowe, Andrew Foster-Williams and others. Carolyn Sampson tugs at the heartstrings in Plaint, abetted by Christie’s exquisitely sensitive accompaniment.
Details are correct at the time of publication - please check with venue before booking.
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I attended the dress rehearsal and it was perfect from start to finish. Wondered whether the melon intended to pop out of the drag queen's chest and roll across the stage ...or not! Apparently it was planned.
Purcell as a religious man may have turned in his grave at this production, which was fun, funny and sexually charged, and no holes barred. The rabbit orgy was hilarious.
- Jonathan Moss, Wimbledon, England
Unfortunately, the show was over long. One wondered when it was going to start. Then it tended to proceed by fits and starts, such that one wondered when it was going to finish.
There are some fine things but it was less than the sum of the parts and would benefit from ruthless pruning of the text and generally tightening up.
- Michael Corby, London UK
