Category Archives: Stage

Vienna State Opera’s ballet academy hit by abuse scandal

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Austrian magazine alleges pupils were subjected to physical, mental and sexual abuse

The Vienna State Opera has launched an investigation and promised far-reaching reforms after allegations that students at its prestigious ballet academy were subjected to physical, mental and sexual abuse by two teachers.

“Things have happened that are unacceptable,” the State Opera’s director, Dominique Meyer, said on Wednesday after the Austrian magazine Falter published a detailed exposé of the alleged abuse based on interviews with students and staff.

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White Porgy and Bess cast ‘asked to say they identify as African-American’

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Hungarian singers allegedly signed paper to bypass stipulation of all-black cast

The Hungarian State Opera has come up with a dubious way around a stipulation that George Gershwin’s opera Porgy and Bess be performed by an all-black cast: it is allegedly asking its white, Hungarian singers to sign a paper saying they identify as African-American.

The company first put on the opera a year ago, leading to a spat with the Gershwin estate, which stipulates the opera should only be performed by a black cast.

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Scary Bikers review – John Godber saddles up for a bumpy Brexit ride

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Trafalgar Studios, London
In his funny and perceptive two-hander, Godber and his wife play a quarrelsome couple on a tandem trip to Europe

Although it dominates our lives, Brexit has so far made surprisingly few appearances on stage. It is, however, a key topic – along with grief and cycling – in this humane, funny and perceptive two-hander written by John Godber and performed by him and his wife, Jane Thornton. This is certainly the first play I’ve seen that seeks to explain why so many people voted leave.

It presents us with an odd couple brought together by loss and a love of bikes. Don, an ex-miner and now a porter at Pontefract hospital, is grieving over the death of his wife. Carol, a teacher and would-be artist, is a widow haunted by the passing of her architect husband. But, after a chance graveside encounter, the two of them discover they have a shared passion for cycling. Rashly they set off on a bike-and-train trip to Florence on the day of the 2016 referendum, only to realise that they are on opposite sides of the argument about Europe.

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The $500m Shed: inside New York’s quilted handbag on wheels

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This puffed-up cultural citadel was meant to be an endlessly evolving, telescopic arts complex. But the glistening billionaires’ playground rising up beside it had other plans

It seems fitting that the cultural centre of New York’s latest luxury private development should look like a quilted Chanel handbag. Rearing up at the northern end of the High Line on Manhattan’s reborn West Side, the Shed presents a 10-storey wrapping of puffed-up diamond cushions to passersby, standing as the gaudy gateway to Hudson Yards – the most expensive real estate project in US history.

While it might fit in with the gilt-edged world of Swiss watch boutiques and Michelin-starred chefs that awaits in this $25bn private enclave, it is an unlikely costume for what the project’s architect and originator, Liz Diller, insists is “simply a piece of infrastructure” to support whatever artists want to do. “It’s not precious,” she says of the $500m building. “It’s muscular and industrial, just meat and bones.”

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A Palestinian boy with a gun to his head asked if I was OK. I still think about him | Tariq Jordan

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On a bus in the West Bank, fearing for our lives, this 13-year-old boy taught me the true power of empathy

As an actor and storyteller, I always felt that I was an extremely sympathetic person. That was a source of pride. But a couple of years ago I realised my sympathy was, in fact, pointless. It was devoid of any value whatsoever. My sympathy allowed me to merely sit as a spectator in the arena of human struggles. It achieved little for others. What I needed was to re-engage with something I had forgotten how to do: empathise.

In 2014 I found myself travelling along the West Bank on a coach with about 30 young Palestinians. This journey was full of music and dance. Darbukas and dabkes. And I was involved. It was impossible not to be. That is what empathy is. Feeling with others and not for them. But along this journey, that empathy turned quite suddenly to sympathy. Our bus had to pass a roadblock guarded by Israel Defence Forces soldiers. Guns were pointed at our driver and he was forced to halt the bus, throwing the younger members of the group 10 feet down the aisle. As we all scrambled to our seats, I immediately sat next to a young Palestinian boy of 13.

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Yuli: this portrait of Carlos Acosta and Cuba is a dance film like no other

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Ballet and film complement each other perfectly in a biopic of the superstar dancer that captures life under Castro’s rule

Dance on film can have many functions. It might act as a showstopping decoration to the drama (most movie musicals), a shorthand for its protagonist’s obsession or madness (Black Swan, The Red Shoes) or a blunt tool for illustrating cultural difference (Step Up, Save the Last Dance and every other ballet-girl-meets-hip-hop-boy movie). But, aside from Jerome Robbins’ masterpiece West Side Story, it doesn’t often work as a narrative device – an alternative script. That’s how it functions in Yuli, a new biopic of Cuban ballet star Carlos Acosta, by Spanish director Icíar Bollaín and writer Paul Laverty (I, Daniel Blake).

In Yuli (the title is Acosta’s father’s nickname for him), the concept sounds overcomplicated: a biopic played in flashbacks, mixed with real footage of the dancer on stage, framed by the conceit that “current” Carlos is creating an autobiographical dance piece in which he also performs as his own father. But it works. It really works.

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Albert Finney, cinema’s original ‘angry young man’, dies aged 82

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Celebrated actor who rose to fame in the ‘kitchen sink’ era before evolving into one of the screen greats of the postwar period, has died

• Albert Finney – a life in pictures

Albert Finney, who forged his reputation as one of the leading actors of Britain’s early 60s new wave cinema, has died aged 82 after a short illness, his family have announced. In 2011, he disclosed he had been suffering from kidney cancer.

A publicist told the Guardian that Finney died of a chest infection at the Royal Marsden hospital, which specialises in cancer treatment, just outside London. His wife, Pene, and son, Simon, were by his side.

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The joy that comes from embracing trans identity shouldn’t be so rare | Andy Connor

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‘Gender euphoria’ is a concept whose time has come, and at this year’s Midsumma festival we got a chance to see it in full flight

As the chorus of voices lifted in the final kaleidoscopic song of Gender Euphoria, the first mainstage all-transgender show in Australian history, something rare and vital was communicated. So many trans stories are tragedies; it’s easy to miss the triumphs. So much of the world is still so stigmatising and cruel to trans people that it’s easy to overlook the joy. More than just relief at having escaped something, the show tells us, being trans is also about having found something. “Goodbye gender dysphoria,” proclaimed cabaret star Mama Alto, “Hello gender euphoria!”

Related: Shantay, you play: the drag queens of gaming

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‘We kept the trauma to ourselves’: Christophe Honoré on the idols lost to Aids

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The French writer-director talks about his highly personal new show, a ‘dance of the dead’ that pays tribute to artistic heroes including Jacques Demy

Director Christophe Honoré still looks pained at the memory of the protests against gay marriage that rocked France seven years ago. The adoption of same-sex marriage in the country, a flagship policy that President François Hollande had campaigned on, was supposed to have been a smooth process. It became law in 2013, but only after a protracted backlash that saw hundreds of thousands take to the streets – more overall than the recent gilets jaunes (yellow vests) movement.

“I realised there was still a cloud of suspicion hanging over gay citizens,” says Honoré, best known internationally for comedies and musical films including 2007’s Love Songs. “I felt hurt, but also responsible, because in my work I’d never thought that gay visibility might still be important. I felt like I’d failed, like I’d deserted the fight the generation before me had led.”

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Miranda wins multiple ovations for Hamilton opening in Puerto Rico

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Creator and star says he will never forget reception of musical in parents’ homeland

Lin-Manuel Miranda’s return to the stage in his musical, Hamilton, was brought to a dramatic standstill on Friday night – not by protests in his parents’ homeland of Puerto Rico, as some had feared, but by a spontaneous eruption of cheers, whoops and applause.

The brightest spotlight shone on Miranda as, reprising the title role for the first time since Broadway in July 2016, he sang his introductory line: “Alexander Hamilton”. He got no further. The audience of nearly 2,000 rose to its feet and generated a wall of joyous noise for half a minute. The music stopped and Miranda remained motionless, keeping his eyes fixed straight ahead, then finally allowing them to dart about the stage.

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Ireland’s national theatre accused of deserting Irish talent

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More than 300 actors, directors and designers accuse Abbey of wreaking ‘devastation’

The Abbey theatre in Dublin has staged some of Ireland’s greatest plays but it is now at the centre of an unwanted drama after it was accused of wreaking artistic “devastation” on the country’s theatrical community.

In an open letter published on Monday, a roll-call of Irish talent including the actors Aidan Gillen and Ruth Negga said the country’s national theatre had gutted its domestic industry by scaling back in-house productions in order to buy in and co-produce shows.

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