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The Latest Breaking News from Tristram Kenton

London’s cultural venues from Donmar Warehouse to Royal Opera House respond to major Arts Council funding cuts

Some of the capital’s most prestigious venues face huge funding cuts or removal of Arts Council support altogether

Evening Standard

The Yeomen of the Guard review – tonal uncertainties but G&S update has plenty to enjoy

Jo Davies’ 1950-set staging of the late G&S opera may not fully cohere but musically we’re in excellent hands and Richard McCabe’s is a moving – and sweatily desperate – Jack Point

The Guardian - UK

Super High Resolution review – compelling exploration of a crumbling NHS

Directed by Blanche McIntyre, Nathan Ellis’s drama serves as a reminder of what cuts are doing to our health service but it tells more than it shows

The Guardian - UK

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Birmingham Royal Ballet: Into the Music review – an allegro trio

From dancers partnering with projections and CCTV-style surveillance to an engrossing piece inspired by Edvard Munch, Carlos Acosta’s company is continuing to carve out a niche

The Guardian - UK

Evening Conversations review – warm meditations from midlife

Sudha Bhuchar’s monologue, drawing on chats with her children, has much likable detail but slightly less focus than you’d wish for

The Guardian - UK

Jasmin Vardimon: Alice review – a fairytale that never quite goes through the looking-glass

A krumping Cheshire cat enlivens this well-danced adaptation of Lewis Carroll’s coming-of-age story, but Alice’s deeper life remains unexplored

The Guardian - UK

A Dead Body in Taos review – a spiritual exploration of what it means to be really free

Set in the New Mexico desert, David Farr’s unusual play dips into virtual reality in order to raise questions of love, life and what constitutes the human essence

The Guardian - UK

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An Anatomy of Melancholy review – vivid musical study of an indefinable condition

In an intimate show – part a staged recital part a mini-opera - Iestyn Davies and Thomas Dunford perform John Dowland’s lute songs epitomising melancholy

The Guardian - UK

Modern and major: how Gilbert and Sullivan still skewer England’s absurdities

Dismiss their works at your peril. Strip the barnacles of stale tradition off the Victorian duos’s light operettas and their seditious glory still shines

The Guardian - UK

‘I threw my arms around Beckett!’ – electrifying first nights, by Ciarán Hinds, Eileen Atkins and more

The author of a new book about the greatest openings in theatre history asks stars of stage to recall their most thrilling first nights – and the occasional disasters that befell them

The Guardian - UK

King Hamlin review – trapped teens face up to lives at knife-point

Excellent performances enhance this story of three young boys hurtling towards gang culture

The Guardian - UK

Mud, murder and homemade schnapps: eco-thriller Drive Your Plow Over the Bones of the Dead roars back

As Complicité’s Simon McBurney brings Olga Tokarczuk’s feminist detective story to the stage, the pair discuss its eccentric sleuth, isolated landscape and climate alarm

The Guardian - UK

Light of Passage review – Crystal Pite’s magnificent dance of life

The Canadian choreographer has turned 2017’s acclaimed Flight Pattern into a full-length work that brims with massed energy and profound humanity

The Guardian - UK

The week in classical: Orpheus; Apartment House review – rich, rewarding, different

Opera North’s teeming fusion of Monteverdi with Indian classical traditions is an inspired match. Elsewhere, more mind-bending harmonies from Apartment House

The Guardian - UK

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The Guardian - UK

A Gig for Ghosts review – a joyous musical meditation on love and death

The raucous folk songs, open-hearted performances and tender love story make this queer gig-theatre romcom a delight

The Guardian - UK

The Shadow Whose Prey the Hunter Becomes review – a frank discussion of disability

Humour and rage intertwine in Back to Back theatre company’s playful debate of ethics, language and philosophy

The Guardian - UK

Light of Passage review – mesmerising moves from Crystal Pite

With shimmering music and a signature use of massed bodies, Pite transforms her acclaimed Flight Pattern into a full-length work

Evening Standard

Light of Passage at the Royal Opera House: Crystal Pite’s new work is deeply felt and long overdue

This ballet, expanded from the 2017 award-winner Flight Pattern, is tender and poetic

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The Guardian - UK

La Bohème review – Christmas comes early to the Royal Opera House

Juan Diego Flórez delivers a winning performance as Puccini’s least mature leading man, while Danielle de Niese’s Musetta is merciless

The Guardian - UK

Sex, drugs and pas de deux: how Mayerling’s flame keeps burning

As Kenneth MacMillan’s classic returns, his widow Deborah and Edward Watson – celebrated for dancing the lead role – reflect on preserving the spirit of this seamy beast of a ballet

The Guardian - UK

‘Maybe you set the theatre on fire?’: directors on staging the unstageable

Scenes that skip between universes, 100 eyeballs emerging from the floorboards, whole plays set on a slope … The scripts for Constellations, Wonder Boy and other hits have provided instructions to unleash the imagination

The Guardian - UK

Mayerling review – astounding from beginning to end

Kenneth MacMillan’s bleak psychological period piece is a gift for the Royal Ballet’s dancers, who take turns in performances of gripping, in-the-moment power

The Guardian - UK

The Coral review – urgent parable of poverty and the one percent

Georg Kaiser’s century-old call for a societal reset may not always hit the mark, but it is given an invigorated panache by Collide theatre company

The Guardian - UK

‘Don’t worry, just watch’: how do you tell a story through dance?

Even the best-known ballets can baffle newcomers so what can choreographers do to avoid audiences getting lost? From Matthew Bourne’s fairytales to staging Margaret Atwood and Peaky Blinders, we find out

The Guardian - UK

Tosca review – gloriously sung and full of grand passion, this is gripping theatre

Christof Loy’s atmospheric staging of Puccini’s opera doesn’t always cohere, but its psychological probing proves powerful and Adam Smith is a tremendous Cavaradossi

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