|As an ambitious government minister, Sir Robert Chiltern’s smooth ascent to the top seems assured until Mrs Cheveley appears in London with damning proof of his previous financial chicanery. This is the third play from the Oscar Wilde Season, a year-long celebration of the brilliant Victorian playwright being staged by the Classic Spring Theatre Company.|
|Known to millions as 'The King of Waltz', André Rieu is one of the world's most popular music artists. His legendary annual Maastricht concert is an eagerly anticipated cinema event each year, last year setting new box office records in several countries. Set against the stunning medieval backdrop of the town square in André's Dutch hometown, the spectacular Maastricht concert features the maestro in his element, along with his 60-piece Johann Strauss Orchestra, sopranos, tenors and very special guests. André delivers an unforgettable musical experience full of humor, fun and emotion for all ages.|
|Hailed as ‘a masterpiece of 21st century dance' from English National Ballet, Akram Khan’s Giselle comes to cinemas for the first time in 2018, giving ballet fans the opportunity to see this award-winning production in glorious high definition on the big screen. One of the greatest romantic ballets, Giselle has been re-imagined by celebrated choreographer Akram Khan with Artistic Director and Lead Principal of English National Ballet, Tamara Rojo, dancing the role of Giselle, one of a community of migrant workers cast out of their jobs in a condemned garment factory. With staging and costumes by Academy Award-winning Tim Yip (Crouching Tiger, Hidden Dragon), the ballet has won an Olivier Award and the South Bank Sky Arts Award for English National Ballet, received rapturous 5-star reviews and was sold out when performed at London's Sadler's Wells. Filmed live at the Liverpool Empire in October 2017, Akram Khan’s Giselle is directed for the screen by Ross MacGibbon.
Co-produced by Manchester International Festival and Sadler’s Wells. Supported using public funding by the National Lottery through Arts Council England.|
|Matthew Bourne’s Cinderella is a thrilling and evocative love story set in London during the Second World War. The internationally acclaimed choreographer’s interpretation of the classic fairy tale has, at its heart, a true war-time romance. A chance meeting results in a magical night for Cinderella and her dashing young RAF pilot, together just long enough to fall in love before being parted by the horrors of the Blitz. This special dance screening will be followed by a live Q&A with Matthew Bourne exclusively for cinemas.|
|Finding Your Feet is an upcoming 2017 comedy-drama directed by Richard Loncraine from an original screenplay by Nick Moorcroft and Meg Leonard. The film stars Imelda Staunton, Timothy Spall, Celia Imrie and Joanna Lumley|
|Competitive ice skater Tonya Harding rises amongst the ranks at the U.S. Figure Skating Championships, but her future in the activity is thrown into doubt when her ex-husband intervenes.|
|In the early 2000s, an artistically-inclined seventeen year-old comes of age in Sacramento, California.|
|Ben Whishaw (The Danish Girl, Skyfall, Hamlet) and Michelle Fairley (Fortitude, Game of Thrones) play Brutus and Cassius, David Calder (The Lost City of Z, The Hatton Garden Job) plays Caesar and David Morrissey (The Missing, Hangmen, The Walking Dead) is Mark Antony. Broadcast live from The Bridge Theatre, London.
Caesar returns in triumph to Rome and the people pour out of their homes to celebrate. Alarmed by the autocrat’s popularity, the educated élite conspire to bring him down. After his assassination, civil war erupts on the streets of the capital.
Nicholas Hytner’s production will thrust the audience into the street party that greets Caesar’s return, the congress that witnesses his murder, the rally that assembles for his funeral and the chaos that explodes in its wake.|
|The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness.
Shakespeare’s most intense and terrifying tragedy, directed by Rufus Norris (The Threepenny Opera, London Road), will see Rory Kinnear (Young Marx, Othello) and Anne-Marie Duff (Oil, Suffragette) return to the National Theatre to play Macbeth and Lady Macbeth.
The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness.|
|A new production of Oscar Wilde's social comedy, Lady Windermere's Fan, directed by award-winning writer, actor and director Kathy Burke, will be broadcast live to cinemas from the Vaudeville Theatre in London's West End. This is the second play from the Oscar Wilde Season, a year-long celebration of the brilliant Victorian playwright being staged by Classic Spring, a new theatre company led by Dominic Dromgoole, former Artistic Director of Shakespeare's Globe.
The day of Lady Windermere's birthday party, and all is perfectly in order. Until her friend Lord Darlington plants a seed of suspicion. Is her husband having an affair? And will the other woman really attend the party? First performed in 1892, Lady Windermere's Fan explores the ambiguity of upper class morality and the fragile position of women in society in the late Victorian era in one of Wilde's most popular and witty plays.
|Peter Rabbit, the mischievous and adventurous hero who has captivated generations of readers, now takes on the starring role of his own irreverent, contemporary comedy with attitude. In the film, Peter's feud with Mr. McGregor (Domhnall Gleeson) escalates to greater heights than ever before as they rival for the affections of the warm-hearted animal lover who lives next door (Rose Byrne). James Corden voices the character of Peter with playful spirit and wild charm, with Margot Robbie, Elizabeth Debicki, and Daisy Ridley performing the voice roles of the triplets, Flopsy, Mopsy, and Cottontail.|
|Manon’s brother Lescaut is offering her to the highest bidder when she meets Des Grieux and falls in love. They elope to Paris, but when Monsieur G.M. offers Manon a life of luxury as his mistress she can’t resist. With the Lescauts’ encouragement Des Grieux cheats at cards in an attempt to win Monsieur G.M.’s fortune. They are caught. Manon is arrested as a prostitute and deported to New Orleans, followed by Des Grieux. On the run, Manon dies from exhaustion. Kenneth MacMillan’s source for Manonwas the 18th-century French novel already adapted for opera by Massenet and Puccini. The premiere was given on 7 March 1974, with the lead roles danced by Antoinette Sibley and Anthony Dowell. The ballet quickly became a staple of The Royal Ballet’s repertory, and a touchstone of adult, dramatic dance.MacMillan found new sympathy with the capricious Manon and her struggle to escape poverty. Designs by his regular collaborator Nicholas Georgiadis reflect this, depicting a world of lavish splendour polluted by miserable destitution. MacMillan’s spectacular ensemble scenes for the whole Company create vivid, complex portraits of the distinct societies of Paris and New Orleans. But it is Manon and Des Grieux’s impassioned pas de deux – recalling the intensity of MacMillan’s earlier Romeo and Juliet – that drive this tragic story, and make Manon one of MacMillan’s most powerful dramas.|
|Leonard Bernstein was one of the first classical composers in America to achieve both popular and critical acclaim. He was eclectic in his sources – drawing on jazz and modernism, the traditions of Jewish music and the Broadway musical – and many of Bernstein’s scores are remarkably well suited to dance. He was particularly associated with Jerome Robbins, their credits together including Fancy Free andWest Side Story. To celebrate the centenary year of the composer’s birth, The Royal Ballet has united all three of its associate choreographers to celebrate the dynamic range and danceability of Bernstein’s music.The programme includes two world premieres by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon, marking each artist’s first foray into Bernstein. At the heart of the programme is the first revival of Artist in Residence Liam Scarlett’s The Age of Anxiety, created in 2014 to Bernstein’s soul-searching Second Symphony. Both symphony and ballet are inspired by W.H. Auden’s masterful modernist poem, itself written in response to the atmosphere of disillusionment and uncertainty that followed the end of World War II.|
|wan Lake has had a special role in the repertory of The Royal Ballet since 1934. This Season The Royal Ballet creates a new production with additional choreography by Artist in Residence Liam Scarlett. While remaining faithful to the Petipa-Ivanov text, Scarlett will bring fresh eyes to the staging of this classic ballet, in collaboration with his long-term designer John Macfarlane.Prince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night. Swan Lake was Tchaikovsky’s first ballet score. Given its status today as arguably the best loved and most admired of all classical ballets, it is perhaps surprising that at its premiere in 1877 Swan Lake was poorly received. It is thanks to the 1895 production by Marius Petipa and Lev Ivanov that Swan Lake has become part of not only ballet consciousness but also wider popular culture. That success is secured not only by the sublime, symphonic sweep of Tchaikovsky’s score, but also by the striking choreographic contrasts between Petipa’s royal palace scenes and the lyric lakeside scenes created by Ivanov|
|Verdi’s life-long love affair with Shakespeare’s works began with Macbeth, a play he considered to be ‘one of the greatest creations of man’. With his librettist, Francesco Maria Piave, Verdi set out to create ‘something out of the ordinary’. Their success is borne out in every bar of a score that sees Verdi at his most theatrical: it bristles with demonic energy.The warrior Macbeth fights on the side of the King of Scotland – but when a coven of witches prophesy that he shall become king himself, a ruthless ambition drives Macbeth and his wife to horrific acts. Murder makes Macbeth king, and intrigue and butchery are the hallmarks of his brief, doomed reign. The witches make another prediction, which also comes true: Macbeth and his lady lose their lives, and justice is restored. Phyllida Lloyd’s 2002 production for The Royal Opera is richly hued, shot through with black, red and gold. The witches – imagined by designer Anthony Ward as strange, scarlet-turbaned creatures – are ever-present agents of fate. Lloyd depicts the Macbeths’ childlessness as the dark sadness lurking behind their terrible deeds. The Royal Opera’s production uses Verdi’s 1865 Paris revision of the opera, which includes Lady Macbeth’s riveting aria ‘La luce langue.’|
|Polly Findlay will direct Christopher Eccleston in his RSC debut as Macbeth, with Niamh Cusack returning to the company to play Lady Macbeth in a thrillingly dark, modern production|
|looking at a generation of young people born into violence and ripped apart by the divisions of their parents. Erica Whyman directs, with students from our Associate Schools playing the Chorus, alongside the professional cast|
|"Lechery, lechery, still wars and lechery: nothing else holds fashion"
Troilus and Cressida swear they will always be true to one another. But in the seventh year of the siege of Troy their innocence is tested, and exposed to the savage corrupting influence of war, with tragic consequences.
Virtuoso percussionist Evelyn Glennie collaborates with RSC Artistic Director Gregory Doran to create a satirical futuristic vision of a world resounding with the rhythm of battle, broadcast live to cinemas from Shakespeare's home town.
The Greek army is encamped under the walls of Troy and, at the point at which the play begins, the war has reached stalemate. The Greeks are quarrelling amongst themselves. Achilles, their greatest champion, refuses to fight and has withdrawn to his tent with his lover, Patroclus. Equally at odds with themselves, the Trojans are debating the value of continuing the war merely for the sake of keeping Helen.
Troilus is much distracted from these military concerns by his love for Cressida, the daughter of a Trojan who has defected to the Greek camp. The young lovers are eagerly assisted by Cressida's uncle Pandarus, who acts as their go-between. However, after only one night together they are parted when Cressida is sent to join her father in the Greek camp. Almost immediately she betrays Troilus with the Greek Diomedes and, discovering this, Troilus is plunged into despair.
With the fall of Troy certain, Troilus vows revenge on Achilles.
|Inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.|
|Jack, Algy, Gwendolyn and Cecily discover how unsmooth runs the course of true love, while Lady Bracknell keeps a baleful eye on the mayhem of manners. This is the fourth and final play from the Oscar Wilde Season, a year-long celebration of the brilliant Victorian playwright being staged by the Classic Spring Theatre Company.|
|Lara Croft is the fiercely independent daughter of an eccentric adventurer who vanished when she was scarcely a teen. Now a young woman of 21 without any real focus or purpose, Lara navigates the chaotic streets of trendy East London as a bike courier, barely making the rent, and takes college courses, rarely making it to class. Determined to forge her own path, she refuses to take the reins of her father’s global empire just as staunchly as she rejects the idea that he’s truly gone. Advised to face the facts and move forward after seven years without him, even Lara can’t understand what drives her to finally solve the puzzle of his mysterious death.
Going explicitly against his final wishes, she leaves everything she knows behind in search of her dad’s last-known destination: a fabled tomb on a mythical island that might be somewhere off the coast of Japan. But her mission will not be an easy one; just reaching the island will be extremely treacherous. Suddenly, the stakes couldn’t be higher for Lara, who—against the odds and armed with only her sharp mind, blind faith and inherently stubborn spirit—must learn to push herself beyond her limits as she journeys into the unknown. If she survives this perilous adventure, it could be the making of her, earning her the name tomb raider.