James McAvoy joins Nigel Harman in Richard Greenberg’s Three Days of Rain, which opens at the Apollo Theatre on Tuesday 10 February 2009 with previews from 30 January.

Walker Janeway (James McAvoy) and his sister Nan reunite for the reading of their father’s will in the Manhattan loft where he lived. A wealthy architect, Ned’s legacy is the iconic, internationally renowned 1960s New York house designed with his late business partner Theo. Joined by Theo’s son Pip (Nigel Harman), the three childhood friends meet to settle the estate and determine the future of the house. The discovery of a brief entry, “three days of rain”, in Ned’s diary is the only clue to the true story of the previous generation.

Three Days of Rain explores how the private worlds of one generation are reinterpreted by the next. A tender and surprising story of love lies at the heart of a creative conflict which could never have been imagined by these children. The actors play both generations in this warm, funny and touching play about family and the enigma of parenthood.

James McAvoy joins Nigel Harman in Richard Greenberg’s Three Days of Rain, which opens at the Apollo Theatre on Tuesday 10 February 2009 with previews from 30 January.

Walker Janeway (James McAvoy) and his sister Nan reunite for the reading of their father’s will in the Manhattan loft where he lived. A wealthy architect, Ned’s legacy is the iconic, internationally renowned 1960s New York house designed with his late business partner Theo. Joined by Theo’s son Pip (Nigel Harman), the three childhood friends meet to settle the estate and determine the future of the house. The discovery of a brief entry, “three days of rain”, in Ned’s diary is the only clue to the true story of the previous generation.

Three Days of Rain explores how the private worlds of one generation are reinterpreted by the next. A tender and surprising story of love lies at the heart of a creative conflict which could never have been imagined by these children. The actors play both generations in this warm, funny and touching play about family and the enigma of parenthood.

Vivacity and variety mark this chance to see two recent works in their first revivals in a Royal Ballet programme with a contemporary slant. Martha Wainwright returns to sing in the first revival of Will Tuckett’s interpretation of Kurt Weill’s Seven Deadly Sins, new in 2007. Two demanding star roles, one each for a dancer and a singer, portray Anna’s journey through the visceral temptations of American cities, with the dramatic tensions in Tuckett’s interpretation set to music by Weill from the symphonic to 1930s popular.

In contrast, Mats Ek’s witty and subversive Carmen draws on the story of the carefree gypsy who brings turmoil to the life of her lover Don José. Suggestions of the story are set to Rodion Shchedrin’s inventive distillation of Bizet’s tune-packed opera score, while the roles of Carmen, José and the mysterious ‘M’ give fine opportunities for strong character performances from Royal Ballet soloists.

The programme finishes with the first revival of Christopher Wheeldon’s pulsing, energetic DGV: Danse à grande vitesse, an immediate hit at its premiere in 2006. Michael Nyman’s music was written to celebrate the French high-speed train the TGV, and here the large number of dancers involved make the ballet a thrilling conclusion to the programme through sheer energy and the thrill of vibrant dance.

Running time: 3 hours | 2 Intervals

CREDITS
Music:
Kurt Weill
George Bizet arranged by Rodion Shchedrin
Michael Nyman

Choreography:
Will Tuckett
Mats Ek
Christopher Wheeldon

PERFORMERS
Conductor:
Daniel Capps
Martin Yates

Seven Deadly Sins:
Martha Wainwright
Zenaida Yanowsky

Carmen:
tbc

DGV: Danse à Grande Vitesse:
Lauren Cuthbertson
Steven McRae
Laura Morera
Rupert Pennefather
tbc
Leanne Benjamin
Sarah Lamb
Zenaida Yanowsky
Marianela Nuñez
Edward Watson
Gary Avis
Eric Underwood
Federico Bonelli

Swan Lake is one of the most loved of all classical ballets and one of the most popular in the Royal Ballet repertory. It has that magical combination of Tchaikovsky’s music, a compelling story of tragic romance and choreography that allows the very best dancers to show just how impressive they can be.

It returns for a second time this Season in Anthony Dowell’s romantic production whose designs were inspired by Imperial Russia of 1895, when the ballet was first performed. Against this atmospheric setting, Marius Petipa and Lev Ivanov’s choreography provides an opportunity to see great dance partnerships in the leading roles and the whole Company in the dance ensembles. Illuminated by moonlight, the charged solos for the Prince and Odette and her alter-ego Odile, the machinations of Von Rothbart and the colour of a palace ball all combine with glorious music to make for an evening of inspiration and romance.

CREDITS
Choreography:
Marius Petipa
Lev Ivanov

Music:
Pyotr Il'yich Tchaikovsky

Production:
Anthony Dowell

Designs:
Yolanda Sonnabend

Lighting:
Mark Henderson

PERFORMERS
Conductor:
Valeriy Ovsyanikov

Odette/Odile:
Tamara Rojo
Zenaida Yanowsky
Lauren Cuthbertson
Marianela Nuñez
Alina Cojocaru
Sarah Lamb
Roberta Marquez

Prince Siegfried:
Viacheslav Samodurov
Ivan Putrov
Rupert Pennefather
Thiago Soares
Roberto Bolle
Carlos Acosta
Johan Kobborg
Federico Bonelli

Romantic India provides the setting for one of The Royal Ballet’s favourite full-length works: La Bayadère, a tale of love, murder and vengeful judgement by the gods. At the centre of this showcase of classical dancing is the warrior Solor and his love Nikiya, the beautiful temple dancer (bayadère) of the title.

Nikiya provokes the murderous jealousy of her wicked rival, Gamzatti, encouraged by the High Brahmin, whose own designs on the bayadère are far from pure. Seeking solace in opium after the death of his love, Solor hallucinates an afterworld – the Kingdom of the Shades – filled with one of classical dance’s most famous images as multiple spectral Nikiyas fill the stage.

With the collapse of the temple, destroyed by the gods, Solor and Nikiyia are finally reunited as spirits in the next world. Originally choreographed in 1877 by Marius Petipa, La Bayadère was later adapted by The Kirov Ballet and re-created in this three-act version by Natalia Makarova with naturalistic and detailed designs that create a rich setting for an exotic tale.

Two star ballerina roles, the epitome of a ‘White’ ballet and a Bronze Idol who comes briefly but spectacularly to life are just some of the elements that make this a perennial favourite of The Royal Ballet repertory.

CREDITS
Choreography:
Marius Petipa
Natalia Makarova

Music:
Ludwig Minkus Orchestrated by John Lanchbery

Costume Designs:
Yolanda Sonnabend

Lighting:
John B Read

Production:
Natalia Makarova

Set Designs:
Pier Luigi Samaritani

PERFORMERS
Conductor:
Valeriy Ovsyanikov

Nikiya:
Tamara Rojo
Lauren Cuthbertson
Yuhui Choe
Marianela Nuñez
Alina Cojocaru
Sarah Lamb
Roberta Marquez

Solor:
Thiago Soares
David Makhateli
Sergei Polunin
Ivan Putrov
Carlos Acosta
Federico Bonelli
Johan Kobborg

Gamzatti:
Isabel McMeekan
Laura Morera
Hikaru Kobayashi
Marianela Nuñez
Alexandra Ansanelli
Lauren Cuthbertson

A star role for a ballerina and enchanting choreography from a master – Ondine combines both of these – not surprising, as it was created in 1958 for Margot Fonteyn by Frederick Ashton.

This 50th anniversary revival by The Royal Ballet brings new stars as the water sprite Ondine and the young mortal Palemon with whom she falls in love to tragic ends. The whole Company take part in bringing to life the sea spirits and sailors of this Romantic story, with its wonderful scenes beneath the sea, in a Gothic castle and onboard a storm-tossed ship, all magically staged in Lila de Nobili’s impressionistic designs.

Through the ballet’s three acts the watery imagery pervades the choreography – ‘fluid like the rhythm of the sea’, as Ashton described it – and Hans Werner Henze’s specially commissioned score complements it perfectly with its rippling, flowing textures and translucent orchestrations, here under the baton of The Royal Ballet’s Music Director, Barry Wordsworth.

Whether for the technical demands of its solo roles, the famous Shadow Dance or the Act III celebration dances, this is a celebratory revival that brings together Royal Ballet history and Ashton’s distinctive style with the talents of today.

CREDITS
Lighting:
John B Read
Choreography:
Frederick Ashton
Music:
Hans Werner Henze
Designs:
Lila de Nobili

PERFORMERS
Conductor:
Barry Wordsworth

Ondine:
Miyako Yoshida
Alexandra Ansanelli
Alina Cojocaru
Tamara Rojo

Prince Palemon:
Valeri Hristov
Edward Watson
Federico Bonelli

A world premiere from Wayne McGregor, with designs by Julian Opie, makes this programme of three short works an especially exciting event of this Royal Ballet Season. McGregor, The Royal Ballet’s Resident Choreographer, continues his imaginative collaborations with creative figures at the forefront of today’s arts, this time with Opie, the leading British contemporary artist known for his figurative reductions and memorable imagery.

McGregor’s dynamic explorations of the nature of perception have been instant audience hits, most recently at the Royal Opera House with the award-winning Chroma, and in this new work he once more pushes dance technique to its limits.

In contrast, the free-flowing virtuosity of Voluntaries is perfect for discovering Glen Tetley’s fusion of raw emotion and classical lyricism. His unique balance of the expressive and the technically demanding has made his work some of the greatest in the modern repertory, and Voluntaries is one of his most popular ballets.

Starkly different is Flemming Flindt’s vision in The Lesson: dark and unsettling in its psychological portrayal of a predatory dance teacher who steps beyond the borders of sanity with an unfortunate student.

World premiere and revival, abstract and narrative, soloists and ensemble: a Royal Ballet programme of exciting contrasts.

CREDITS
Voluntaries
Music: Francis Poulenc
Choreography: Glen Tetley
Designs: Rouben Ter-Arutunian
Lighting Design: John B. Read

The Lesson
Music: Georges Delerue
Choreography: Flemming Flindt (Based on the play by Eugene Ionesco)
Set Designs: Flemming Flindt after Bernard Dayde
Costume Designs: Flemming Flindt and Tina Sander
Lighting Design: Simon Bennison

New McGregor
Music: Max Richter
Choreography: Wayne McGregor
Set Designs: Julian Opie
Costume Designs: Moritz Junge
Lighting Design: Lucy Carter
Sound Design: Chris Ekers

PERFORMERS
Conductor
Barry Wordsworth
Daniel Capps

Voluntaries
George Benjamin
Federico Bonelli
Leanne Benjamin
Lauren Cuthbertson
Marianela Nuñez
Rupert Pennefather
Valeri Hristov
Mara Galeazzi
Bennet Gartside
Thiago Soares
Sergei Polunin

The Lesson
Yuhui Choe
Edward Watson
Roberta Marquez
Johan Kobborg

New McGregor
Leanne Benjamin
Lauren Cuthbertson
Mara Galeazzi
Marianela Nuñez
Edward Watson
Eric Underwood

With this exclusive packaged hotel deal you receive ticket(s) to "The Snowman" at the Peacock Theatre and choose your duration at our selection of London hotels.


“An essential part of London's Christmas calendar ” TIME OUT

The stage version of Raymond Briggs' much-loved book continues to delight children everywhere as it returns to the Peacock Theatre for Christmas.

When a young boy's snowman comes to life on Christmas Eve, the two set off on a night-time quest for adventure. On their travels, they meet dancing penguins, reindeer and, of course, Father Christmas.

Watch spellbound as the Snowman literally flies through the night sky above you, before escaping the clutches of the evil Jack Frost to return home for Christmas morning.

“Sheer theatrical magic. Go see The Snowman, and melt ” THE TIMES

Suitable for all children aged two and upwards, this is a captivating mix of dance, stagecraft, and music. Featuring a live orchestra, it is the perfect introduction to dance for the very young.

Carlos returns to the London Coliseum with his awe-inspiring Oliver Award winning show which also features new repertoire in a programme which combines classical ballet alongside contemporary works.
In 2006 Carlos Acosta delighted audiences and critics alike with this awe-inspiring Olivier award winning show.

'Acosta is a man absolutely at the top of his game, someone to tell your children and grandchildren that you actually saw, live, on stage. Just go.' - The Telegraph

'Acosta himself is, I think, ever-astonishing…nothing seems impossible and the impossible is made easy. The evening is done with a sense of delight by its cast, shared by its audience.' - Financial Times

Renowned for combining Cuban passion with remarkable technical virtuosity, watching Carlos Acosta dance is an inspiring experience. He is joined by guest artists from The Royal Ballet in a programme that combines classical ballet alongside contemporary works.

Carlos Acosta is the greatest ballet dancer of his generation. He is a principal dancer at Covent Garden; Tocororo, the show about his own life, that he wrote, choreographed and starred in, broke box office records at Sadler's Wells; and in his homeland of Cuba he is a national hero. Renowned for combining Cuban passion with a remarkable technical virtuosity and raw athleticism, watching Carlos Acosta dance is a breathtaking experience not to be missed. Carlos Acosta has chosen some of his favourite moments in ballet and brought them together to create one evening of spectacular dance. He draws on his roots, taking works from the Ballet Nacional de Cuba's repertoire such as Tarde en la Fiesta, as well as the ever popular Diana and Acteon, and in an uplifting finale, he will treat the audience to some traditional Cuban moves from the final scene of Tocororo. For this very special programme Carlos will be joined onstage by artists from The Royal Ballet including Mara Galeazzi, Marianela Nu+¦ez and Federico Bonelli amongst others.

The Saint Petersburg ballerina, Irina Kolesnikova is this year celebrating ten years working on stage. Performances dedicated to this event will take place in Saint Petersburg, Paris and London.

"Having graduated from the Academy of Russian Ballet in 1988 Irina Kolesnikova is in her own way a phenomenon in the world of Russian ballet as she is a ballerina of world renown who possesses perfect ballet technique, is an actress of profound emotion yet who does not belong either to the Mariinskiy ballet company or to the constellation of stars which is the Bolshoi Ballet. Kolesnikova dances in the non-state Konstantin Tachkin Saint Petersburg Ballet Theatre. She is loved in the West and not very well known in Russia". Nina Alovert - Russian-American critic, photographer, writer.

These words are taken from Nina Alovert's book "Irina Kolesnikova - already a legend" which is dedicated to Irina Kolesnikova's work and will come out in print in the beginning 2009.

Kolesnikova's history and career really does have a unique character. Irina possesses enormous individuality, sumptuous technique and amazing acting ability.

She has won first prizes in many international competitions and been honoured with several prestigious awards. In 2005 Irina Kolesnikova was nominated by Critic`s Circle of the United Kingdom for an award in the Best Female Dancer category.

The Western press continues to express their delight in her talent. Such national and internationally respected publications as the Times, Independent, Daily Telegraph and Sunday Express in their reviews of Irina Kolesnikova's performances are not embarrassed to use expressions such as: "a world class ballerina", "a star", "a true Diva" when they refer to her.

For several seasons now her performances have played to unchanging full houses at the Royal Albert Hall which has many thousand seats. Moreover, the tickets are completely sold out several weeks before the ballerina even arrives in London.

On 17th May 2009, as part of her first personal European tour Irina will perform for the first time at London's famous Coliseum and will then dance in Paris once more at the legendary Theatre des Champs Elysées in "Swan Lake" and "La Bayadère".

But this will be the beginning of the second decade in the creative destiny of this amazing dancer.