Reviews for The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour

  1. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Graham Watts, Monday 30 April 2007 — Performance: 26 Apr-9 May 07

    27 April 2007 There is, as they say, many a slip twixt cup and lip and even the very best ideas need careful attention to detail. This advice is particularly apt in the context of Will Tuckett‘s new adapta… Continue Reading

  2. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Sarah Crompton, Telegraph, Wednesday 9 May 2007Performance 26 Apr-9 May 07

    ‘The piece opens wonderfully with Wainwright (singing Anna, blowsy, venal and sensual) and Zenaida Yanowsky (dancing Anna, fragile, innocent and exploited) holding hands, silhouetted against a huge white moon.’ 

  3. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Jenny Gilbert, Sun.Independent, Tuesday 8 May 2007Performance 26 Apr-9 May 07

    ‘Tuckett strikes gold in his casting of Anna II. Yanowsky is not only a subtle actress – her body has a downtrodden, turned-in slouch right from the start – but she has the length of limb to make the wild extremes of the choreography look wilder still.’ 

  4. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Clement Crisp, FT, Monday 30 April 2007Performance 26 Apr-9 May 07

    ‘The entire affair lacks the sardonic edge that lies in Brecht’s words, even the curious lyricism with which Weill imbues Anna’s journeyings. Zenaida Yanowsky does all in her considerable powers to force the drama along, but it is an activity comparable… 

  5. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Debra Craine, Times, Monday 30 April 2007Performance 26 Apr-9 May 07

    ‘From the moment we first see them holding hands at the start of their journey, Wainwright and Yanowsky strike such an affecting double act that their symbiotic bond overrides any doubts about the way their story is being told.’  

  6. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Luke Jennings, Observer, Monday 30 April 2007Performance 26 Apr-9 May 07

    ‘The most frustrating thing is that Tuckett is a real talent. The Seven Deadly Sins is beautifully crafted, and its choreography is dense, tight and clever throughout.’ 

  7. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Zoe Anderson, Independent, Monday 30 April 2007Performance 26 Apr-9 May 07

    ‘The pop/folk singer Martha Wainwright sings live on stage, while Will Tuckett’s choreography has plenty of bright ideas. But I came out of the ballet feeling as if I hadn’t seen it yet.’ 

  8. Royal Ballet in The Seven Deadly Sins/ Pierrot Lunaire/ La Fin du Jour at Royal Opera House

    Press Review Judith Mackrell, Guardian, Monday 30 April 2007Performance 26 Apr-9 May 07

    ‘With a pungent feel for period, Brotherston has collaborated with choreographer Will Tuckett to update the ballet to the early 1960s, introducing an element of rock’n‘roll that reinvigorates its drama.’  

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