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The Latest Breaking News from Tristram Kenton

The Cellist; The Limit review – a tale of two Royal Ballet dramas

Lauren Cuthbertson and Marcelino Sambé reprise their roles to glorious effect in Cathy Marston’s inspired paean to Jacqueline du Pré, while an adaptation of Sam Steiner’s hit play Lemons… feels squeezed

The Guardian - UK

La Rondine review – Opera North’s stylish Puccini is opulent and tender

Set in the 1920s, James Hurley’s staging – the third of the company’s Green Season – is blessed with perfectly mismatched lovers. Under conductor Kerem Hasan the score sighs and swoons

The Guardian - UK

La Traviata review – radical revival powered by outstanding performers

Painstakingly restored by Ruth Knight for ENO, Peter Konwitschny’s production pares the Verdi opera down to its absolute essence

The Guardian - UK

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The Limit review – oppressed pair make words and steps count

Sam Steiner’s play, set in a world of rationed speech, lends itself to movement, and the dancers here also retain the dialogue, fusing the forms with quiet grace

The Guardian - UK

Keith Baxter obituary

Actor and director who played Prince Hal to Orson Welles’s Falstaff in Chimes at Midnight, and triumphed in Sleuth in the West End and on Broadway

The Guardian - UK

Haydn Gwynne obituary

Stage and screen actor known for her TV roles in Drop the Dead Donkey and The Windsors, and as a star of musical theatre

The Guardian - UK

Free Your Mind review – Danny Boyle’s Matrix reboot is a thrilling shock to the system

The director’s collaboration with hip-hop dance company Boy Blue, designer Es Devlin and writer Sabrina Mahfouz conveys the march of AI

The Guardian - UK

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Aviva Studios opens in Manchester with Danny Boyle dance extravaganza

It is £130m over budget and four years late, but backers say it will be unlike any other arts venue in Europe

The Guardian - UK

Pam Tanowitz and David Lang: Song of Songs review – turning on the lights

Meditation on the Bible’s great love poem can feel opaque but it is performed with great precision and set to a bewitching score

The Guardian - UK

Cinderella review – entertaining if odd spin on Rossini’s opera

Jenny Ogilvie grafts a wacky ‘Night at the Museum’ concept onto the fairytale in this new production for English Touring Opera. Conductor Naomi Woo’s speeds are brisk to the point of breathlessness

The Guardian - UK

The Foreigners’ Panto review – pro-immigrant comedy is non-seasonal but timely

This musical meta comedy allegorising Britain’s hostility to immigrants arrives ahead of panto season but with perfect timing nonetheless. Unfortunately it seems under-rehearsed – a bargain basement The Play That Goes Wrong

The Guardian - UK

Iolanthe review – from Nadine Dorries to flying lords, the spiralling absurdity makes this a delight

Cal McCrystal’s joyous Gilbert and Sullivan staging returns to English National Opera packed with pantomime animals, visual and verbal gags and, above all, terrific singing

The Guardian - UK

These Demons review – sisters under siege in a haunted house

Rachel Bellman explores Jewish exorcisms and rebellion in this darkly funny, psychological play

The Guardian - UK

‘He turned every performance into a masterpiece’: readers pay tribute to Michael Gambon

The actor gave astonishing performances in works by Shakespeare, Beckett and Brecht in the West End – and he was just as unforgettable off stage, our readers remember

The Guardian - UK

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The Guardian - UK

Michael Gambon: an actor who let his heart and soul crack open

A star with incredible presence, Gambon brought heft and delicacy, mischief and feeling, to the stage and screen

The Guardian - UK

Michael Gambon, star of Harry Potter and The Singing Detective, dies aged 82

The Olivier award-winning actor, whose major film roles included Albus Dumbledore in the Harry Potter series, has died

The Guardian - UK

Is King Lear a mountain or molehill? How to play the tragic monarch and ‘stupid old fart’

Paul Scofield, Ian McKellen and Glenda Jackson have all redefined Shakespeare’s unpredictable ruler – a role in which actors usually succeed

The Guardian - UK

Metamorphosis review – Lemn Sissay adaptation is more poetic than dramatic

This staging of Kafka’s story is physically exciting, even tireless, but it hits an early peak of terror then has nowhere to go for two hours

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The Guardian - UK

After Amadeus: Brian Cox as Bach is theatre’s latest orchestral manoeuvre

Oliver Cotton’s The Score, a new drama about Bach’s confrontation with Frederick II, continues a rich tradition of plays about great composers

The Guardian - UK

King Stakh’s Wild Hunt review – operatic fairytale of rebellions and false myths has present-day echoes

Belarusian and Ukrainian performers come together in this creepy and atmospheric haunted house story

The Guardian - UK

‘I threw my pop records in the bin’: George Benjamin on his defining moments – and his latest opera

As Picture a day Like this comes to the London stage, the composer speaks about finding his dream collaborator, entering ‘a different dimension’ with Olivier Messiaen – and the day Disney changed his life

The Guardian - UK

‘The most dangerous stage I’ve ever been on’: the wildest performances of Wagner’s Ring

Gods! Dragons! Horned helmets! Swords! Valkyries! The 15-hour apocalyptic epic is about to explode onto the Royal Opera stage. But what’s the best way to tackle ‘the ultimate opera’?

The Guardian - UK

The best theatre to stream this month: Rufus Norris’s barmy take on Sleeping Beauty, Ian McKellen unmasked and more

Our roundup of drama to watch at home includes the warped fairytale Hex, Neil LaBute’s dark relationship comedy and a classic Gilbert & Sullivan romp

The Guardian - UK

Carlos at 50 review – Acosta’s gorgeous birthday bash with friends and family

There’s less gravity defying, more gravitas as the Cuban star makes a dazzling return to the Royal Opera House in a seamless show of crowd-pleasing highs

The Guardian - UK

The Australian Ballet: Jewels review – lots of glitter but no gold

George Balanchine’s choreography is gorgeous to look at, and there are standout individual performances, but it really needs more lush grandeur

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