A wicked deception is sprung in the opening moments of this New York-originated concert staging of Stephen Sondheim and Hugh Wheeler’s Sweeney Todd. The English National Opera orchestra, liberated from the pit, is duly assembled on stage at the London Coliseum; flower arrangements and a Steinway grand add to the formality, and right on cue
Sweeney Todd English National Opera, in rep until 9 April A wicked deception is sprung in the opening moments of this New York-originated concert staging of Stephen Sondheim and Hugh Wheeler’s Sweeney Todd. The English National Opera orchestra, liberated from the pit, is duly assembled on stage at the London Coliseum; flower arrangements and a Steinway
Who on earth could have predicted that a hoary old operatic melodrama set in revolutionary France would find resonance in the present where the pen as a weapon against bigotry and hypocrisy has suddenly achieved iconic status. But hold up, let’s not get carried away. We’re talking about Giordano’s Andrea Chénier. Though its eponymous poet
Andrea Chénier Royal Opera House, in rep until 6 February Who on earth could have predicted that a hoary old operatic melodrama set in revolutionary France would find resonance in the present where the pen as a weapon against bigotry and hypocrisy has suddenly achieved iconic status. But hold up, let’s not get carried away.
During my short and probably best forgotten acting career, I found myself on the pointy end of Dickie Attenborough’s camera on two memorable occasions. The first was a cough and a spit (well, maybe just a cough) as footman to Lady Churchill (Anne Bancroft) in Young Winston where the prospect of welcoming Mrs Robinson home
