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Even in times when rehash is more common than originality, the risk with a revival of Burt Bacharach’s late 1960s musical Promises, Promises, in turn based on Billy Wilder’s 1960 film The Apartment, is that it feels doubly derivative.
Adaptations of Charles Dickens’ Christmas Carol began around 30 years after his death and proliferated during the 1930s and 40s with a wealth of radio productions, notably one featuring Orson Welles and sponsored by Campbell’s Soup.
For the non-initiate, The Beastie Boys were a group of white New Yorkers who made the leap from punk rock to hip hop. The result was the number 1 hit Licensed to Ill and an opening up to the white suburbs of a previously black musical phenomenon.
This was the UK premiere for the Compagnie Marie Chouinard from Quebec. She started with Soft virtuosity, still humid, on the edge – a title that means nothing in English but perhaps has more resonance in French. Happily the work was far more exciting than the title.
Northern Ireland’s permanent representation in Brussels periodically brings to the capital of Europe a sample of Northern Irish culture in a spirit of cross-cultural exchange that risks being disrupted in the event of a Brexit.
Embracing art’s ability to transcend national divisions, a young pan-European ensemble delivered Tchaikovsky at his most triumphantly Russian, as part of a vivacious and compelling beginning to its new season, known as the Hulencourt Art Project, which runs until May next year.
. Kate Saffin & Heather Wastie commemorate the lives of women recruited to work on Britain’s canals during World War 2
By Michael Bartholomew-Biggs • history, performance, theatre, travel, year 2017 • Tags: history, Kate Saffin & Heather Wastie, performance, theatre, travel