Thirty years after the events of the first film, a new blade runner, LAPD Officer K, unearths a long-buried secret that has the potential to plunge what’s left of society into chaos.
K’s discovery leads him on a quest to find Rick Deckard, a former LAPD blade runner who has been missing for 30 years.
Ryan Gosling, Harrison Ford, Jared Leto, Robin Wright, Dave Bautista, & Sylvia Hoeks
Loving Vincent is a 2017 biographical animated drama film about the life of painter Vincent van Gogh.
It is the first fully painted animated film.
Written and directed by Dorota Kobiela and Hugh Welchman, each of the film's 65,000 frames is an oil painting on canvas, using the same technique as Van Gogh, created by a team of 115 painters.
Not to be missed!
In director Maysaloun Hamoud’s remarkable feature debut, three Palestinian women sharing an apartment in the vibrant heart of Tel Aviv find themselves doing the same balancing act between tradition and modernity, citizenship and culture, fealty and freedom.
In Between is a story of a certain kind of female friendship, a fierce bond that comes about because of shared gender, background, and hopes. The final shot of Hamoud's engaging and compelling film says everything about these unforgettable women.
Directed by Taika Waititi, the ingeneous mind behind Hunt For The Wilderpeople and What We Do In The Shadows.
Boy is a coming of age tale set on the east coast of New Zealand in 1984, Boy, an 11-year-old child and devout Michael Jackson fan, gets a chance to know his absentee criminal father, who has returned to find a bag of money he buried years ago.
The film broke box office records in New Zealand on release and now UK audiences have a chance to catch it for the first time on the big screen.
Widely regarded as the 20th century’s most important singer of English traditional song, Shirley Collins stood at the epicentre of the folk music scene during the 1960s and ‘70’s. However, in 1980 she lost her voice in mysterious circumstances, and was forced to retire from musical life.
Rob Curry and Tim Plester's documentary sets out to explore the story behind the icon, and chronicles Shirley’s battle, at the grand old age of 80, to rediscover that voice she lost so many years previously. The film offsets this contemporary journey with a more literal one taken from the other end of her life, and makes fertile use of authentic 1959 audio-archive to recount the tale of Shirley’s seminal road-trip around America’s Deep South alongside her then-lover (and pre-eminent ethnomusicologist) Alan Lomax.
Featuring among others the comedian Stewart Lee, the film nonetheless eschews a straightforward biopic approach and mindfully sidesteps any rockumentary talking-heads; the filmmakers instead offering up a meditative and richly textured piece of portraiture. One which uses Shirley’s story as a prism through which to explore and reflect upon themes of heritage, posterity and the true ancestral melodies of the people. Here then is a film about loss and redemption. A film about sacrifice, healing and rebirth. A film which suggests that, during these turbulent and increasingly untethered times, we might just need Shirley Collins and all she stands for more than ever.
Co-Director Tim Plester will be at The Arthouse to discuss his beautiful film with the audience on the 25th of October.
The beginning of the end of Communism in the USSR is the unlikely subject of this absolutely hilarious comedy of terrors from Armando Iannucci - the mastermind behind the immortal Alan Partridge, The Thick Of It and In the Loop.
In the days following Stalin’s collapse, his core team of ministers tussle for control; some want positive change in the Soviet Union, others have more sinister motives. Their one common trait? They’re all just desperately trying to remain alive.
A film that combines comedy, drama, pathos and political manoeuvring, The Death of Stalin is just the film you need when you feel that history and politics are getting to you.
Zambian-born Welsh director Rungano Nyoni is set to make her mark on British cinema with her groundbreaking first feature, I Am Not a Witch. Sharply satirical and boldly provocative, the film garnered incredible praise from audiences and critics alike at the Cannes 2017 Directors’ Fortnight.
When eight-year-old Shula turns up alone and unannounced in a rural Zambian village, the locals are suspicious. A minor incident escalates to a full-blown witch trial, where she is found guilty and sentenced to life on a state-run witch camp. There, she is tethered to a long white ribbon and told that if she ever tries to run away, she will be transformed into a goat. As the days pass, Shula begins to settle into her new community, but a threat looms on the horizon. Soon she is forced to make a difficult decision - whether to resign herself to life on the camp, or take a risk for freedom.
At times moving, often funny and occasionally surreal, I Am Not a Witch offers spellbinding storytelling with flashes of anarchic humour. Audacious and unforgettable, it showcases Rungano Nyoni as a fresh and fearless new voice in British film.
This observational documentary follows a year in the lives of two inspirational teachers in the only primary-age boarding school in Ireland. Headfort, a school not unlike Hogwarts with its 18th century buildings, secret doors and magical woodlands, has been home to John and Amanda Leyden for 46 years and a backdrop to their extraordinary careers.
“A DELIGHTFUL CROWD-PLEASER. An irresistibly admiring portrait.”– Neil Young, Hollywood Reporter
“FINDS POETRY IN THE RAW NATURE OF EDUCATION. The most adorable documentary that Frederick Wiseman never made.”– David Ehrlich, Indiewire
“It’s not hard to be moved. A gentle but keen-eyed documentary”- Guy Lodge, Variety
Katerina Clambaneva, voice
Anastasis Sarakatsanos, piano
Guest artist, Pavlos Carvalho, cello, bouzouki
Revealing the profound, at time prophetic, musings of this cherished Greek composer and exploring the range of his music, beyond his most famous achievement Never on Sunday.
“Το πρόσωπο του τέρατος και ο φόβος μήπως το συνηθίσουμε”
“The face of the monster, and the fear we might grow accustomed to it…”
A collaboration between Anastasis Sarakatsanos and Katerina Clambaneva and an exciting venture into the vast ergography of this cherished composer. An evening of music where Anastasis and Katerina explore a selection of his musical works as well as some extracts from his texts taken from his publications and radio commentaries.
At a garden party on a sunny afternoon, Alice is surprised to see her parents’ friend Lewis Carroll transform into a white rabbit. When she follows him down a rabbit hole events become curiouser and curiouser... As Alice journeys through Wonderland, she encounters countless strange creatures. She’s swept off her feet by the charming Knave of Hearts, who’s on the run for stealing the tarts. Confusion piles upon confusion. Then Alice wakes with a start. Was it all a daydream?
Christopher Wheeldon’s Alice’s Adventures in Wonderland burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot’s score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley’s wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real.
Choreography by Christopher Wheeldon
Music by Joby Talbot
Seventeen year-old Elio (Timothée Chalamet) spends his lazy summers at his parents’ Italian villa reading, translating music and flirting with locals. When his academic father receives a new American research assistant (Armie Hammer) it stirs previously hidden feelings in the teenager, ones that inject his life with soaring, blissful highs and heartbreaking lows. The whole range is sensitively portrayed in this sun-soaked tale of burgeoning sexuality that traces the ecstasy and agony of first love.
Special Halloween screening.
Tickets only £5
After killing her mother in childbirth, growing up in San Francisco with her father and stepmother, attempting suicide, and moving to Los Angeles, Sarah (Robin Tunney) makes a brief stab at popularity at her new Catholic high school. Ostracized due to the untrue kiss-and-tell tales of football player Chris (Skeet Ulrich), Sarah reluctantly befriends a trio of self-styled outsiders: the horribly scarred Bonnie (Neve Campbell), the trailer-trash Nancy (Fairuza Balk), and Rochelle (Rachel True), a frequent victim of anti-black prejudice at the hands of Laura Lizzie (former Marcia Brady and future Mrs. Ben Stiller, Christine Taylor).
After exhibiting latent telekenitic powers in front of Bonnie, Sarah learns that her three new friends have chosen her as their "fourth corner," the final member of their supernatural coven. Using tools stolen from a local incense-and-candle-filled boutique for practitioners of magic, the quartet summons the power of Manon, a primitive deity, to exact revenge on their tormentors and transform their lives. Drunk with power, they watch their spells get out of control, and the new coven soon realizes that with magic, "whatever you give comes back three-fold." This mid-'90s horror flick scored first place at the box office its opening weekend despite its then-unknown cast and modest budget. TV star Neve Campbell, who didn't even receive top billing, would go on to become the '90s answer to '70s horror queen Jamie Lee Curtis in the Scream franchise.
In 78 setups and 52 cuts, the deliriously choreographed two-minute shower sequence in Psycho ripped apart cinema’s definition of horror. With a shocking combination of exploitation and high art, Alfred Hitchcock upended his own acclaimed narrative structure by violently killing off a heroine a third of the way through his film, without explanation, justification, or higher purpose. Psycho played out like a horrific prank, forcing audiences to recognize that even the most banal domestic spaces were now fair game for unspeakable mayhem. With black-and-white film-geek reverence, director Alexandre O. Philippe breaks down this most notorious and essential scene shot for shot, enlisting the help of film buffs and filmmakers alike—including Guillermo del Toro, Bret Easton Ellis, Karyn Kusama, Eli Roth, and Peter Bogdanovich. 78/52 examines Janet Leigh’s terrified facial expressions and the blink-and-you-miss-it camera work, not just within the context of the film but also with an eye toward America’s changing social mores—revealing how one bloody, chaotic on-screen death killed off chaste cinema and eerily predicted a decade of unprecedented violence and upheaval.
Stephen Sondheim’s legendary musical is staged for the first time at the National Theatre and broadcast live to cinemas.
New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves.
Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, it’s directed by Dominic Cooke (The Comedy of Errors).
Winner of Academy, Tony, Grammy and Olivier awards, Sondheim’s previous work includes A Little Night Music, Sweeney Todd and Sunday in the Park with George.
Following the mind-bending Heaven Knows What, celebrated filmmakers Josh and Benny Safdie return to the mean streets of New York City with Good Time, a hypnotic crime thriller that explores with bracing immediacy the tragic sway of family and fate.
After a botched bank robbery lands his younger brother in prison, Constantine "Connie" Nikas (Robert Pattinson) embarks on a twisted odyssey through the city's underworld in an increasingly desperate - and dangerous - attempt to get his brother Nick (Benny Safdie) out of jail. Over the course of one adrenalised night, Connie finds himself on a mad descent into violence and mayhem as he races against the clock to save his brother and himself, knowing their lives hang in the balance. Anchored by a career-defining performance from Robert Pattinson, Good Time is a psychotic symphony of propulsive intensity crafted by two of the most exciting young directors working today.
Josh and Benny Safdie’s transcendent vision is an intoxicating portrait of desperation and destruction that will not be soon forgotten.
Exhibition on Screen Season 5 presents David Hockney at the Royal Academy of Arts: A Bigger Picture 2012 & 82 Portraits and One Still Life 2016.
Widely considered Britain’s most popular artist, David
Hockney is a global sensation with exhibitions in London,
New York, Paris and beyond, attracting millions of visitors
Now entering his 9th decade, Hockney shows absolutely no
evidence of slowing down or losing his trademark boldness. Featuring intimate and in-depth interviews with Hockney,
this revealing film focuses on two blockbuster exhibitions
held in 2012 and 2016 at the Royal Academy of Art in
Director Phil Grabsky secured privileged access to craft this
cinematic celebration of a 21st century master of creativity.
GFEST – Gaywise FESTival 2017 Feature + short: “Resolve to Relate”
Ballroom Boys Short docu-drama (UK /France) dir: Michael Stylianou / 13 mins
Tensions arise as Lemington from the US and Nejc from Slovenia train for the European Same Sex Ballroom Dancing Championships in Blackpool. Will their relationship survive?
Fire Song Feature drama (Canada) dir: Adam Garnet Jones / 85 mins UK/London Premiere Starring: Andrew Martin
A debut feature film, premiered at Toronto Film Festival. Shane, a gay teenager from the Canadian First Nation Anishinaabe who lives in Northern Ontario, is struggling to support his family in the aftermath of his sister’s suicide. Shane was supposed to move to the city for university, and he has been trying to convince his secret boyfriend to come with him, but now everything is uncertain. He pushes through barrier after barrier, determined to take care of his mom and earn money for school. But when circumstances take a turn for the worse and Shane has to choose between his family and his future, what will he do?
GFEST – Gaywise FESTival 2017: An evening of LGBTQ shorts (1): “Finding their Narratives”
We could be parents Short film (Sweden, English subtitles) dir, writer: Björn Elgerd, producer, co-director: David Färdmar (GFEST 2011, 2014 filmmaker) /14 mins Starring: Bjorn Elgerd
Erik's boyfriend Marely has left him. Erik tries to get him back by making this movie to explain that the only reason he offered himself for paid sex so that they could afford to become parents one day. Trailer: https://vimeo.com/204547605
Smalltown Boy Short doc film (UK) dir: Moby Longinotto /13 mins A GFEST 2008 film – 10th anniversary special
David has never felt at home in his small town in the countryside. The locals in his rural home refuse to accept him. As a 15 year old gay boy he is always been shunned, bullied and rejected. But now David plans to show everyone in the village that he's proud of who he is.
Chained Short doc film (USA) dir: Betsy Kalin /14 mins A GFEST 2011 film – 10th anniversary special
From Victorian pocket watches to Zoot Suit style to motorcycle necessity, wallet chains have evolved over the years to become more than a trend in lesbian culture.
Dusk Short film (UK) dir: Jake Graf (GFEST 2014, 2016 filmmaker) / 15 mins Starring: Mark Brent, Victoria Emslie, Elaine Hallam
Growing up in 1950s England in an intolerant and uninformed world, young Chris Winters struggles to fit into the gender roles dictated by wider society. Chris meets dream woman Julie, and life lightens a little, but the growing feeling that theirs is a life half lived haunts Chris. Chris is finally struck by the realisation that for some decisions there is no right answer, and that it's those that truly define us. Trailer: https://vimeo.com/209270751
Finding Home Short doc film (UK) dir: Veronica McKenzie camera: Fahmida Islam editor: Julia Fecchio / 32 mins UK Premiere.
Agnes Bognar, Ignacho (Nacho) Diaz Vazquez, Nathaniel Oyinloye, Richard Muhenda, Juliet Nangobi and Stephen Ofwono talk about “Finding Home” - the stories of LGBT Asylum seekers and Migrants from Uganda, Hungary and Spain, who under difficult circumstances came to the UK, and triumphed in building new lives.
Including a filmmakers Q&A
GFEST – Gaywise FESTival 2017: An evening of LGBTQ shorts “Discovering Ourselves”
Ce que je pense Short film (France, English subtitles) dir: Kevin Capelle and Thomas Devouge / 4 mins UK/London Premiere Starring: Kevin Capelle
The film is based upon Guy de Maupassant’s short story “Solitude”: are we eternally alone, and are all our efforts, all our actions directed toward escaping the solitude?
Shadow Plant Short film (UK) dir: Jonathan Reid-Edwards, writer: George Taylor /8 mins UK/ London Premiere Starring: Rob Ostlere, George Taylor, Lizzie Stanton
A man's unstoppable career in high finance is threatened by a secret he hoped would never be discovered.
Home for Golden Gays Short doc film (Denmark) dir: Nola Grace Gaardmand / 13 mins A GFEST 2011 film – 10th anniversary special
Manila, Philippines: On a quiet side street, tucked away from the noisy, polluted traffic there is a special place: Home for the Golden Gays has been a refuge for the elderly and vulnerable gays of Manila since 1969.
Segun Mateo Short film (Spain, English subtitles) dir: Osama Chami and Enrique Gimeno / 19 mins UK Premiere
Mateo and his boyfriend, Marc, arrive home after a night out with Luke, a guy they've just met. After an argument, Mateo leaves the flat and bumps into Jon, a drug dealer they have called. Mateo convinces Jon to take him to his house where he discovers he can't feel anything if it's not through pain.
Lightrapping Short film (Spain, English subtitles) dir: Marcio Miranda Perez / 22 mins Starring: Pedro Leão, Julio Machado, Tomás Decina
Gustavo is a photographer who captures the bodies of naked men in public spaces of Sao Paulo. One night, young Pedro follows him, curious and undecided about participating in the project or not. The city will witness the journey. Trailer: https://vimeo.com/164518063
The Marriage Short film (Spain, English subtitles) dir: Víctor Quintero and Sergio Rey / 26 mins UK Premiere
After a long-term relationship, Suso and Ricard are getting married. Both families are delighted with the prospect but Suso’s grandmother, completely unaware of wedding day celebrations will attend the dinner. Trailer: https://vimeo.com/212560391
Including a filmmakers Q&A
Photo © Shaffer.
Shaw unpacks the Argos tree and sings up the season. No Mariah Carey. May contains nuts!
From the Hollywood classics to the more contemporary pop canon, this promises to be a Crouch End winter warmer at one of Shaw's 'favourite new venues to play'.
"An artist at the top of his game...we love him"
The young Clara creeps downstairs on Christmas Eve to play with her favourite present a Nutcracker doll. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure. After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to a wonderful display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?
Peter Wright’s nigh-on definitive production for The Royal Ballet ranks as one of the most enduring and enchanting versions of The Nutcracker. With its festive period setting, dancing snowflakes and enchanting stage magic, Lev Ivanov’s 1892 ballet has become the perfect Christmas entertainment, with Tchaikovsky’s sumptuous, sugar-spun music the most recognizable of all ballet scores.
Loosely based on the story by E.T.A. Hoffmann, the ballet opens with a lively Christmas party, its Victorian setting captured in opulent detail by Julia Trevelyan Oman’s designs. Wright’s choreography ingeniously incorporates surviving fragments of the ballet’s original material, including the sublime pas de deux for the Sugar Plum Fairy and her Prince. But in emphasizing the relationship between Clara and the Nutcracker Prince, the production also gains a touching subtext of first love.
Choreography by Peter Wright and Lev Ivanov
Music by Pyotr Il’yich Tchaikovsky
Rory Kinnear (The Threepenny Opera, Penny Dreadful, Othello) is Marx and Oliver Chris (Twelfth Night, Green Wing) is Engels, in this new comedy written by Richard Bean and Clive Coleman. Broadcast live from The Bridge Theatre, London, the production is directed by Nicholas Hytner and reunites the creative team behind Broadway and West End hit comedy One Man, Two Guvnors.
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx.
In The Last Jedi the Skywalker saga continues as the heroes of The Force Awakens join the galactic legends in an epic adventure that unlocks age-old mysteries of the Force and shocking revelations of the past.
The film stars Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Andy Serkis, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, Kelly Marie Tran, Laura Dern and Benicio Del Toro.
Star Wars: The Last Jedi is written and directed by Rian Johnson and produced by Kathleen Kennedy and Ram Bergman. J.J. Abrams, Tom Karnowski and Jason McGatlin are the executive producers.
THEODORAKIS: THE LOVE SONGS
Mikis Theodorakis is known very much as a political activist as well as the composer of probably the most internationally recognised piece of music ever written, Zorba’s Dance! Much of his music reflects this deep involvement in politics. However, today we will be setting politics aside and performing the love songs of this great composer. Nostalgic, melodic, profound… music is set to the poetry of writers such as Ritsos and Seferis, these songs continue to be sung throughout Greece today.
MARINA DELIGIANNI, vocals
SAVVAS LAGOU, vocals/baglama
PAVLOS CARVALHO, bouzouki/cello
DIMITRIS GKIONIS, bouzouki
SPIROS PAISIOS, piano
“Plastikes Karekles represent a culture of reinvention as defiant and hopeful as the music itself.” –Song Lines magazine
Drapetsona, by Theodorakis. Live at the Jamboree
An eclectic fusion of international and Greek musicians with roots from traditional Greek folk to classical and jazz. The group is known and appreciated for their own arrangements of music by Theodorakis, Hadjidakis and Xarhakos featuring a fusion of classical string instruments with Greek traditional ones.
The group have appeared at performances and festivals in Greece and elsewhere abroad. In the UK they have performed at Purcell Room, Royal Festival Hall, Royal Albert Hall, St David's Hall as part of the Proms, as well as more intimate venues such as the Green Note, Vortex and the Forge, London.
The musicians of Plastikes Karekles are also the founding members of the Rebetiko Carnival, a one month festival in June with rebetiko music at its heart. They are dedicated to exposing this treasured music to as many people as possible.
A very important part of Plastikes Karekles work is also education and outreach work. This has taken them to not only mainstream schools, but also special needs homes, hospitals and prisons throughout the UK.
TICKETS: £15, £12 Students
The corruption of innocence is at the heart of Verdi’s potent tragedy in David McVicar’s production for The Royal Opera.
Rigoletto, court jester to the libertine Duke of Mantua, is cursed by the father of one of the Duke’s victims for his irreverent laughter. When the Duke seduces Rigoletto’s daughter Gilda, it seems the curse is taking effect...
David McVicar’s production highlights the cruelty at the heart of the court of Mantua. Richly dressed courtiers engage in orgies and revelries to Verdi’s heady, spirited dances. The opera’s many musical highlights include the ebullient ‘La donna è mobile’, in which the Duke boasts of his disregard for women; Gilda’s exquisite, plangent duets with Rigoletto and the Duke; and the gorgeous Act III quartet that beautifully weaves the voices together as the story quickens to its shattering conclusion.
Giuseppe Verdi wrote in 1855 that Rigoletto was his ‘best opera’. He had had to overcome state censorship to stage it the censors objected to its depiction of an immoral ruler but he was vindicated by the premiere’s huge success in 1851. Rigoletto was performed 250 times in the next 10 years and has remained one of the most popular of all operas.
Directed by David McVicar
Starring Dimitri Platanias, Lucy Crowe, Michael Fabiano
Conductor Alexander Joel
Exhibition on Screen Season 5.
EOS is thrilled to present one of the most talked about
exhibitions of the year. Dedicated to the portrait work of
Paul Cézanne, the exhibition opens in Paris before traveling
to London and Washington.
One can’t appreciate 20th century art without understanding
the significance and genius of Paul Cézanne. Featuring
interviews with curators and experts from the National Portrait
Gallery London, MoMA New York, National Gallery of Art Washington, and Musée d’Orsay Paris, and correspondence
from the artist himself, the film takes audiences beyond
the exhibition to the places Cézanne lived and worked and
sheds light on an artist who is perhaps the least known of
all the impressionists – until now.
Filmed in Paris, London, Washington and the south of
Tosca is one of the great evenings of opera, and from its strident opening chords conjures up a world of political instability and menace.
Jonathan Kent’s production for The Royal Opera captures the dangerous political turbulence of Rome in 1800. The Chief of Police, Scarpia – one of the most malevolent villains in opera – ruthlessly pursues and tortures enemies of the state. His dark, demonic music contrasts with the expansive melodies of the idealistic lovers, Tosca and Cavaradossi, who express their passion in sublime arias, including ‘Vissi d’arte’ and ‘E lucevan le stelle’. Giacomo Puccini’s dramatic work was a hit with audiences on its 1900 premiere and it remains one of the most performed of all operas – with its gripping plot and glorious music, it’s easy to see why.
A candle-lit church, Scarpia’s gloomy study with its hidden torture chamber and the false optimism of a Roman dawn: this handsome production throws into relief the ruthlessly taut drama, as the tension is wound up towards a fateful conclusion. Puccini’s meticulously researched score is infused with the same authentic detail, from distant cannon fire during the Act I Te Deum to tolling church bells and the sounds of a firing squad.
Directed by Jonathan Kent
Starring Adrianne Pieczonka, Joseph Calleja, Gerald Finley
Conductor Dan Ettinger
Christopher Wheeldon, Artistic Associate of The Royal Ballet, created his adaptation of Shakespeare’s late great romance The Winter’s Tale for The Royal Ballet in 2014. Building on the success of Alice’s Adventures in Wonderland, The Winter’s Tale received ecstatic praise at its premiere, acclaimed by critics and audiences alike for its intelligent, distinctive and emotionally powerful story, told through exquisite dance. It is now widely judged to be a modern ballet classic.
The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret – and after a seemingly miraculous return to life – the ending is one of forgiveness and reconciliation. With powerful designs by Bob Crowley and atmospheric music by Joby Talbot, The Winter’s Tale is a masterful modern narrative ballet.
Choreography by Christopher Wheeldon
Music by Joby Talbot
Carmen is the best-known work by French composer Georges Bizet, and one of the most famous operas in the entire art form – numbers such as the Habanera and the Toreador Song have permeated the popular consciousness as little else has. The opera’s heady combination of passion, sensuality and violence initially proved too much for the stage, and it was a critical failure on its 1875 premiere. Bizet died shortly after, and never learned of the spectacular success his Carmen would achieve: the opera has been performed more than five hundred times at Covent Garden alone.
This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.
Directed by Barrie Kosky
Starring Anna Goryachova, Francesco Meli, Anett Fritsch
Condcutor Jakub Hruša
Exhibition on Screen Season 5.
Perhaps more than any other artist, Van Gogh’s life has
long captured the imagination of storytellers. Delving deep
into his fascinating and sometimes deeply troubled world
comes this definitive, award-winning documentary directed
by David Bickerstaff.
Showcasing Van Gogh’s iconic works like never before and
featuring exclusive interviews with the curatorial team at the
Van Gogh Museum, this EXHIBITION ON SCREEN favourite
from Season 2 makes a welcome return to the big screen.
Ben Whishaw (The Danish Girl, Skyfall, Hamlet) and Michelle Fairley (Fortitude, Game of Thrones) play Brutus and Cassius, David Calder (The Lost City of Z, The Hatton Garden Job) plays Caesar and David Morrissey (The Missing, Hangmen, The Walking Dead) is Mark Antony. Broadcast live from The Bridge Theatre, London.
Caesar returns in triumph to Rome and the people pour out of their homes to celebrate. Alarmed by the autocrat’s popularity, the educated élite conspire to bring him down. After his assassination, civil war erupts on the streets of the capital.
Nicholas Hytner’s production will thrust the audience into the street party that greets Caesar’s return, the congress that witnesses his murder, the rally that assembles for his funeral and the chaos that explodes in its wake.
The Royal Ballet celebrates the centenary of Leonard Bernstein's birth with an all-Bernstein programme from choreographers Wayne McGregor, Liam Scarlett and Christopher Wheeldon.
Leonard Bernstein was one of the first classical composers in America to achieve both popular and critical acclaim. He was eclectic in his sources – drawing on jazz and modernism, the traditions of Jewish music and the Broadway musical – and many of Bernstein’s scores are remarkably well suited to dance. He was particularly associated with Jerome Robbins, their credits together including Fancy Free and West Side Story. To celebrate the centenary year of the composer’s birth, The Royal Ballet has united all three of its associate choreographers to celebrate the dynamic range and danceability of Bernstein’s music.
The programme includes two world premieres by Resident Choreographer Wayne McGregor and Artistic Associate Christopher Wheeldon, marking each artist’s first foray into Bernstein. At the heart of the programme is the first revival of Artist in Residence Liam Scarlett’s The Age of Anxiety, created in 2014 to Bernstein’s soul-searching Second Symphony. Both symphony and ballet are inspired by W.H. Auden’s masterful modernist poem, itself written in response to the atmosphere of disillusionment and uncertainty that followed the end of World War II.
Choreography by Wayne McGregor, Liam Scarlett, Christopher Wheeldon
Music by Leonard Bernstein
Verdi’s life-long love affair with Shakespeare’s works began with Macbeth, a play he considered to be ‘one of the greatest creations of man’. With his librettist, Francesco Maria Piave, Verdi set out to create ‘something out of the ordinary’. Their success is borne out in every bar of a score that sees Verdi at his most theatrical: it bristles with demonic energy.
The warrior Macbeth fights on the side of the King of Scotland – but when a coven of witches prophesy that he shall become king himself, a ruthless ambition drives Macbeth and his wife to horrific acts.
Murder makes Macbeth king, and intrigue and butchery are the hallmarks of his brief, doomed reign. The witches make another prediction, which also comes true: Macbeth and his lady lose their lives, and justice is restored.
Phyllida Lloyd’s 2002 production for The Royal Opera is richly hued, shot through with black, red and gold. The witches – imagined by designer Anthony Ward as strange, scarlet-turbaned creatures – are ever-present agents of fate. Lloyd depicts the Macbeths’ childlessness as the dark sadness lurking behind their terrible deeds. The Royal Opera’s production uses Verdi’s 1865 Paris revision of the opera, which includes Lady Macbeth’s riveting aria ‘La luce langue’.
Directed by Phyllida Lloyd
Starring Anna Netrebko, Željko Lucic, Ildebrando D’Arcangelo
Conductor Antonio Pappano
Manon’s brother Lescaut is offering her to the highest bidder when she meets Des Grieux and falls in love. They elope to Paris, but when Monsieur G.M. offers Manon a life of luxury as his mistress she can’t resist. With the Lescauts’ encouragement Des Grieux cheats at cards in an attempt to win Monsieur G.M.’s fortune. They are caught. Manon is arrested as a prostitute and deported to New Orleans, followed by Des Grieux. On the run, Manon dies from exhaustion.
Kenneth MacMillan’s source for Manon was the 18th-century French novel already adapted for opera by Massenet and Puccini. The premiere was given on 7 March 1974, with the lead roles danced by Antoinette Sibley and Anthony Dowell. The ballet quickly became a staple of The Royal Ballet’s repertory, and a touchstone of adult, dramatic dance.
MacMillan found new sympathy with the capricious Manon and her struggle to escape poverty. Designs by his regular collaborator Nicholas Georgiadis reflect this, depicting a world of lavish splendour polluted by miserable destitution. MacMillan’s spectacular ensemble scenes for the whole Company create vivid, complex portraits of the distinct societies of Paris and New Orleans. But it is Manon and Des Grieux’s impassioned pas de deux – recalling the intensity of MacMillan’s earlier Romeo and Juliet – that drive this tragic story, and make Manon one of MacMillan’s most powerful dramas.
Choreography by Kenneth MacMillan
Music by Jules Massenet
Exhibition on Screen Season 5.
After premiering in Season 4 of EXHIBITION ON SCREEN,
I, Claude Monet is back by popular demand, revealing the
heart and soul of arguably the world’s most loved artist.
Told through Monet’s own words and shot on location at
the very spots he painted, the film features his most loved
paintings in an unforgettable, immersive art experience.
“A fresh new documentary that gives the artist a
chance to tell his own story” - Paint & Draw
“The effect is intense and intimate , pulling you
into the artist’s world and making it feel as though
you are walking alongside him in his small
triumphs and louder despairs… A rare insight" - The Observer
“Elegantly made and thoroughly informative…
Phil Grabsky is a master in the mini-genre of
gallery films” - The Guardian
Swan Lake has had a special role in the repertory of The Royal Ballet since 1934. This Season The Royal Ballet creates a new production with additional choreography by Artist in Residence Liam Scarlett. While remaining faithful to the Petipa-Ivanov text, Scarlett will bring fresh eyes to the staging of this classic ballet, in collaboration with his long-term designer John Macfarlane.
Prince Siegfried chances upon a flock of swans while out hunting. When one of the swans turns into a beautiful woman, Odette, he is enraptured. But she is under a spell that holds her captive, allowing her to regain her human form only at night.
Swan Lake was Tchaikovsky’s first ballet score. Given its status today as arguably the best loved and most admired of all classical ballets, it is perhaps surprising that at its premiere in 1877 Swan Lake was poorly received. It is thanks to the 1895 production by Marius Petipa and Lev Ivanov that Swan Lake has become part of not only ballet consciousness but also wider popular culture. That success is secured not only by the sublime, symphonic sweep of Tchaikovsky’s score, but also by the striking choreographic contrasts between Petipa’s royal palace scenes and the lyric lakeside scenes created by Ivanov.
Choreography by Liam Scarlett after Marius Petipa and Lev Ivanov
Music by Pyotr Il’yich Tchaikovsky