★★★☆☆ Bronté Barbé as Carole King is truly incredible to watch, as Carole grows up Barbé’s performance blossoms into a spectacular tribute to the artist’s life. Barbé’s vocals in the show are so unique and powerful it does not fail to make a slight tear come to your eye.
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★★★★☆ The show is a richly textured torrent of memorable characters, songs and verbal and physical jokes; galloping whimsy at its best. Anything funnier would likely need to include whoopee cushions at the Palace.
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★★★☆☆ The Bristol based Wardrobe Ensemble continue their trademark foray into the mildly political and highly entertaining series of plays in this show which returns from a triumphant run in the Edinburgh Fringe. . . Sound, Design and lighting is superb, courtesy of Lucy Sierra and Katherine Williams
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★★★★☆ Ever innovative, Rambert bring us a programme of three pieces with healthily varied subjects. Having rummaged around in the box marked ‘interesting things’ the three choreographers have produced a clutch of dances linked merely by their breathtaking audacity. . .All in all it is an evening of wit, depth and dazzling technique
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★★★★☆ Coleman weaves in and out of it mixing song and spoken word to explore these sensitive subjects. The songs are beautifully performed, making the audience laugh and cry within minutes of each other. Coleman really played to her strengths, when writing this Baby Daddy. This performance is enhanced by live music by the talented Ricardo Rocha.
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★★★★☆ This is an opera that demands impeccable technique of its singers and the ETO doesn’t disappoint. The bright sound required by Handel and provided by the castratos does present a problem for a modern production with the dearth of such curiosities in these straightened times.
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