All stories by Amanda Holloway on BroadwayStars

Monday, May 20, 2019

Il barbiere di Siviglia review at Glyndebourne – ‘madcap staging and world-class performances’ by Amanda Holloway

Annabel Arden’s frenetic production of Rossini’s popular comedy received a mixed reception at its debut in 2016. Happily revival director Sinead O’Neill

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Wednesday, April 24, 2019

Billy Budd review at Royal Opera House, London – ‘visually spectacular and musically arresting’ by Amanda Holloway

The good ship Indomitable sailed into London last night to a hero’s welcome, after triumphs in Milan and Rome. The cast for

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Wednesday, April 10, 2019

Mary, Queen of Scots review at the Old Church, London – ‘a thrilling, up-close encounter’ by Amanda Holloway

Fittingly, OperaUpClose’s new touring production of Mary, Queen of Scots opened in London’s only surviving Elizabethan church, its simple nave transformed into

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Friday, March 15, 2019

The Magic Flute review at London Coliseum – ‘spectacular effects’ by Amanda Holloway

English National Opera’s clear and inventive production of The Magic Flute, first seen in 2013 and now on its third revival, is

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Tuesday, March 12, 2019

Lady Macbeth of Mtsensk review at Tower Ballroom, Birmingham – ‘filthy, fabulous immersive opera’ by Amanda Holloway

Graham Vick’s site-specific production of Shostakovich’s mocking, transgressive opera, Lady Macbeth of Mtsensk – which takes place in a seedy nightclub on

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Friday, February 15, 2019

Carmen review at King’s Head Theatre, London – ‘punchy new version of Bizet’s tragedy’ by Amanda Holloway

This punchy new English version of Bizet’s opera, by Mary Franklin and Ashley Pearson, focuses on the seedy, violent aspects of the

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Friday, December 21, 2018

Amahl and the Night Visitors review at St John’s Smith Square – ‘musically satisfying’ by Amanda Holloway

Amahl and the Night Visitors has all the ingredients of a Christmas show – lyrical music, a winsome boy hero and a

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Wednesday, December 12, 2018

Cinderella review at Yvonne Arnaud Theatre, Guildford – ‘lavish and entertaining’ by Amanda Holloway

This year’s Yvonne Arnaud pantomime features all the traditional ingredients, along with the spicy wit of a stand-up show. Writer and director

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Friday, November 23, 2018

Harriet review at Lawrence Batley Theatre, Huddersfield – ‘vivid new chamber opera’ by Amanda Holloway

The life of Harriet Tubman, African American freedom fighter and former slave, is a gift for an opera composer. Born on a

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Monday, October 22, 2018

Cendrillon review at Glyndebourne – ‘a cluttered production’ by Amanda Holloway

Massenet’s operatic fairytale is a thing of perfection, his ravishing melodies supported by shimmering solos and feather-light textures. But director Fiona Shaw

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Friday, September 28, 2018

Memorial review at Barbican Theatre, London – ‘transcendent theatre’ by Amanda Holloway

Never has Homer’s Iliad seemed less like a dusty schoolbook text than in this searing ‘excavation’ by poet Alice Oswald, dramatized so

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Thursday, September 27, 2018

La Tragedie de Carmen review at Asylum Chapel, London – ‘unimpeachable musical values’ by Amanda Holloway

Peter Brook’s pared-down’s 1981 version of Bizet’s Carmen, is heady stuff. But it can feel at times like eating too many sweeties:

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Thursday, August 23, 2018

Elephant Steps review at Arcola Theatre – ‘Experiment in sixties Surrealism reinvented for today’ by Amanda Holloway

Once you accept that it’s all nonsense, that your senses will be assaulted by a riot of colour and noise, by a

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Wednesday, August 1, 2018

The Boatswain’s Mate review at Arcola Theatre, London – ‘a lively staging’ by Amanda Holloway

Celebrating the centenary of votes for women, Spectra Ensemble puts on a rare performance of Ethel Smyth’s jokey opera from 1914, The

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Tuesday, July 17, 2018

Jette Parker Young Artists Summer Performance 2018 review – ‘vocal and dramatic brilliance’ by Amanda Holloway

The Jette Parker Young Artists (JPYA) Summer Performance was up against the football World Cup Final and the Wimbledon Final, so it’s

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Tuesday, July 3, 2018

La Traviata review at Longborough Festival Opera – ‘awkward Hollywood farce’ by Amanda Holloway

Longborough Festival Opera’s theatre-in-a-barn (clad in Classical columns and with seats instead of hay bales) is known for excellent Wagner productions on

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Monday, July 2, 2018

Don Giovanni review at Royal Opera House, London – ‘a thrilling ride’ by Amanda Holloway

Swirling images of naked women, conquests catalogued in ghostly handwriting on palace walls – the video designs by Luke Halls take us

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Thursday, April 5, 2018

Roles review at V&A, London – ‘provocative new operatic work’ by Amanda Holloway

Less an opera and more a collection of scenes for opera heroines, Roles is the culmination of Metta Theatre’s residency at the V and

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Thursday, March 29, 2018

The Mikado review at King’s Head Theatre, London – ‘wit and energy’ by Amanda Holloway

Who’d have thought that Gilbert and Sullivan’s baggy old warhorse could be reimagined for eight singers and a piano in a pub

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Thursday, November 30, 2017

Eugene Onegin review at Arcola Theatre, London – ‘ambitious, pocket-sized opera’ by Amanda Holloway

In OperaUpClose’s ambitious pocket production of Eugene Onegin, the rolling Russian landscape of the Larin family estate has been replaced by a

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Monday, November 6, 2017

The Lighthouse review at Hackney Showroom, London – ‘nerve-shredding’ by Amanda Holloway

Peter Maxwell Davies’ violent, unsettling tale of three lighthouse keepers who disappear in mysterious circumstances is especially intense in the modestly-proportioned Hackney

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Tuesday, October 31, 2017

Lucia di Lammermoor review at Royal Opera House, London – ‘a triumph’ by Amanda Holloway

Katie Mitchell’s production of Lucia di Lammermoor for the Royal Opera drew howls of protest at its premiere in 2016 for its

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Wednesday, September 13, 2017

Salieri’s The School of Jealousy review at St John’s Smith Square – ‘a sprightly performance’ by Amanda Holloway

Poor Salieri. Having paved the way for Mozart, whom he admired and encouraged, he became known as the man who killed the

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Tuesday, August 1, 2017

Datong – The Chinese Utopia review at Richmond Theatre, London – ‘an entertaining chamber opera’ by Amanda Holloway

Utopian thinkers are often dismissed as dreamers, madmen or heretics. But for a brief moment in China’s history, one man succeeded in

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Thursday, June 29, 2017

Ariadne auf Naxos review at Glyndebourne, Lewes – ‘soprano Lise Davidsen soars’ by Amanda Holloway

Strauss and his librettist Hugo von Hoffmansthal struggled to agree on an approach to Ariadne auf Naxos and the conflict can be

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