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From the decade that brought you the daft musical about cats and the daft musical about trains, it’s the return of ‘Chess’, the daft musical about, you know, chess. Originally running for three years in the West End from 1986, ‘Chess’, by Tim Rice and...Musicals Monday May 28 2018 - Saturday June 2 2018
Opera North: Kiss Me, Kate
Legendary musical theatre composer Cole Porter's 'Kiss Me, Kate' was as close as he ever got to writing an opera: it mixes extravagant, challenging tunes with some riotous jazz numbers, notably 'It's Too Darn Hot'. So it's little wonder that Opera North's...Musicals Wednesday June 20 2018 - Saturday June 30 2018
St Petersburg Ballet Theatre's take on 'Swan Lake' is sumptuously traditional, from the lavish handpainted backdrops to the bejewelled costumes to its elegant corps de ballet. It's coming to Coliseum (home of the ENO) for a limited run of dates this summer,...Ballet Wednesday August 22 2018 - Sunday September 2 2018
On Your Feet!
Occupying what seems to now be a regular summer musical theatre slot at the London Coliseum – inaugurated by last year's by Meat Loaf odyssey ‘Bat Out of Hell’ – ‘On Your Feet!’ is a biographical jukebox musical tracing the life and times of Gloria and...Musicals Friday June 14 2019 - Saturday August 31 2019
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I was recently desperate to see Glenn Close in Sunset Boulevard but, being a bit strapped for cash, I didn’t fancy blowing £100+ on a ticket. Enter the attractive £12.50 (+£1 fee) price I found available on the ENO website. “Restricted viewing” it said. “Restricted Leg Room” it said. I was fully prepared for this, but even then I was shocked at the seat I was given. I was on a curve so you could barely move one knee, thankfully the other could be directed in a way that gave it a little more room. The view was fine, amazing in fact for the price. But I’m seriously concerned for anyone other than a small child taking that seat in future. Please avoid, unless you have no other choice or happen to be a contortionist.
Not only is this one of the most stunning, buildings in London, swimming in a sea of timeless theatre wonder, it is also home to the English Natioanl Ballet. If you don't know much about Ballet, this company is a must see, seriously, get on down there now, tonight, tomorrow, this weekend, you can't go wrong!
Review of Eifman’s Ballet – “Anna Karenina”
Last Saturday, on the 19th of April 2014 I visited the London Coliseum to see a Russian Modern Ballet from St. Petersburg, “Anna Karenina”, created by Boris Eifman.
The hosting theatre – the London Coliseum, is full of that charming Art Nouveau atmosphere making much smoother this Time Passage from the Present to the 19th century tragic Russian story, created by Leo Tolstoy.
The ballet is based on the famous novel, “Anna Karenina”, and predominately concentrates on the love triangle between Anna, her conservative husband Karenin and the dashing Vronsky. It opens up in a burst of psychological energy making an indelible impression upon its viewers.
Every twisted and extremely expressive movement of Anna Karenina’s body leads the viewer from the peak of her love passion to the gradual degradation of her inner world, crushed by the same passion. Lovers’ souls and bodies are entwined in incredible harmony. The building up of their passion is expressed through the light and colors. Black, golden-grey and creamy white colors dominate the ballet’s pallet helping to communicatethe emotional mood of heroes together with the dark and the light sides of Anna’s soul.
Two beds: Anna’s marital couch and her lover’s “retreat” act as “supportive actors”, witnessing the development of the tragedy.
Anna and her husband’s acting is saturated with poses of rejection, prayers, grief, sorrows and anger. At the same time Anna and Vronsky’s bodies are entwined like branches of trees in complicated and amazingly smooth transformational poses. Lovers are in white, reminiscent of love doves. Anna’s silky night dress makes the gravity disappear under the ballerina’s feet, leaving her entirely in the power of her lover, whilst her black, mourning outfit pulls her to this “sinful” earth. Every gesture, turn or movement of the dancers is full of meaning. Their suppleness and flexibility are tested to the limit of a human body’s capability.
Condemning society, Anna’s husband, together with the male group of dancers, smeared in fuel oil and dirt represent the churning and rattling wheels of trains, , even her little son, all are dressed in black, mourning Anna’s destroyed inner world, anticipating her madness and sacrifice.
All this highly charged emotional performance is well accentuated by the minimum use of light, mostly spotlights combined with the ever moving music of Tchaikovsky.
This classical drama goes so well with the innovative, creative and very talented modern choreography of Eifman. It slowly reveals itself against the background of the romantic surroundings and the luxurious vintage interior of the London Coliseum, leaving the audience with an absolutely unforgettable experience. By Nadine Platt