Fiddler on the Roof. Review by Julia Pascal. In Fiddler on the Roof, inspired by Sholem Aleichem’s 1894 Yiddish short story, and now a celebrated revival from the 1960s, we have to explore what this means today.
Julia Pascal
The Forsythe Programme. Review by Julia Pascal. William Forsythe’s latest work Rearray is the most original of the evening’s presentations. Originally created in 2011, it needs a charismatic ballerina.
The Marriage of Figaro. Review by Julia Pascal. In The Marriage of Figaro, director Joe Hill-Gibbins sets the comic opera in a contemporary décor which pulls the 18th century critique of misogyny into our own time.
Write like a man. Review by Julia Pascal. Ronnie A. Grinberg’s detailed analysis of mid-twentieth century America’s masculine Jewish literary elites is a careful examination of the major personalities.
Rigoletto. Review by Julia Pascal. Concept is all. And director Jonathan Miller’s decision to set Verdi’s disturbing melodrama in 1950s New York Little Italy is genius.
Pina Bausch/The Rite of Spring. Review by Julia Pascal. How do you keep Pina Bausch’s work alive 13 years after her death? This is the question behind this amazing production of her Rite of Spring.
Claude Cahun Exhibition. Review by Julia Pascal. This Hayward Touring exhibition is in collaboration with Jersey Heritage and was first presented at the Women of the World Festival 2015, Southbank Centre.
State Ballet of Georgia – Swan Lake. Review by Julia Pascal. How thrilling to see the state Baller of Georgia in London for the first time. The Company is lucky enough to have mega star Nina Ananiashvili as Artistic Director.
Swan Lake in the Round. Review by Julia Pascal. This is the most famous of classical ballets and it was conceived for the proscenium arch Italianate style theatre of Imperial Russia when it opened with Marius Petipa’s choreography to Peter Tchaikovsky’s composition at Moscow’s Bolshoi Ballet in 1895.
Romeo and Juliet. Review by Julia Pascal. This production has not been seen in London since 2009. Consequently, most Londoners will know revivals of Kenneth MacMillan’s famous 1965 version which has regularly been performed by the Royal Ballet at Covent Garden.
May Be at Sadler’s Wells. Review by Julia Pascal. I walk into a Paris bookshop and ask if they can offer me play texts by contemporary French authors. The assistant directs me to a shelf of plays by Samuel Beckett. To the French, Samuel Beckett is one of theirs. He wrote in French. He lived most of his life in France. But was he Irish? Anglo-Irish? French?
LSO, Barbican. Review by Julia Pascal. What an amazing double bill the LSO offered for the start of its Barbican season under the direction Antonio Pappano: Aaron Copland’s Symphony No 3, with it haunting and thrilling Fanfare for the Common Man and Leonard Bernstein Symphony No 3 Kaddish.
By Julia Pascal • added recently on London Grip, music, performance • Tags: Julia Pascal, music, performance