Please scroll down to the film you wish to book for.
Following the events of Fifty Shades of Grey, Anastasia "Ana" Steele tries to move on from her relationship with Christian Grey. A wounded Christian convinces her to resume their romance under Ana's conditions. As the couple begins their normal relationship, Christian's past threatens to tear the couple apart.
HACKSAW RIDGE is a US war drama based on the true story of Desmond Doss, a conscientious objector who served as a combat medic during World War Two.
|Thursday 26 Jan 2017||19:40|
LA LA LAND is a musical comedy about the relationship between a jazz musician and an aspiring playwright.
MOANA is an animated feature about a young girl who ventures out to sea on a mission to save the future of the people of the Pacific island on which she lives. The feature is preceded by a short animation called INNER WORKINGS which is about the internal struggle between a man's pragmatic and impulsive sides.
Lucian Msamati (Luther, Game of Thrones, NT Live: The Comedy of Errors) plays Salieri in Peter Shaffer's iconic play, broadcast live from the National Theatre, and with live orchestral accompaniment by Southbank Sinfonia.
Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna, the music capital of the world - and he's determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy his name. Seized by obsessive jealousy he begins a war with Mozart, with music, and ultimately, with God.
After winning multiple Olivier and Tony Awards when it had its premiere at the National Theatre in 1979, Amadeus was adapted into an Academy Award-winning film.
"I've no talent for life."
Just married. Bored already. Hedda longs to be free...
Hedda and Tesman have just returned from their honeymoon and the relationship is already in trouble. Trapped but determined, Hedda tries to control those around her, only to see her own world unravel.
Tony Award-winning director Ivo van Hove (A View from the Bridge at the Young Vic Theatre) returns to National Theatre Live screens with a modern production of Ibsen's masterpiece.
Ruth Wilson (Luther, The Affair, Jane Eyre) plays the title role in a new version by Patrick Marber (Notes on a Scandal, Closer).
Gemma Arterton is Joan of Arc, broadcast live from the Donmar Warehouse.
Bernard Shaw's classic play follows the life and trial of a young country girl who declares a bloody mission to drive the English from France. As one of the first Protestants and nationalists, she threatens the very fabric of the feudal society and the Catholic Church across Europe.
Josie Rourke (Coriolanus, Les Liaisons Dangereuses) directs Gemma Arterton (Gemma Bovery, Nell Gwynn, Made in Dagenham) as Joan of Arc in this electrifying production.
|Thursday 16 Feb 2017||19:00|
Tamsin Greig is Malvolia in a new twist on Shakespeare’s classic comedy of mistaken identity.
A ship is wrecked on the rocks. Viola is washed ashore but her twin brother Sebastian is lost. Determined to survive on her own, she steps out to explore a new land. So begins a whirlwind of mistaken identity and unrequited love.
The nearby households of Olivia and Orsino are overrun with passion. Even Olivia's upright housekeeper Malvolia is swept up in the madness. Where music is the food of love, and nobody is quite what they seem, anything proves possible.
Simon Godwin (NT Live: Man and Superman, NT Live: The Beaux’ Stratagem) directs this joyous new production with Tamsin Greig (Friday Night Dinner, Black Books, Episodes) as a transformed Malvolia and an ensemble cast that includes Daniel Rigby (Flowers, Jericho), Tamara Lawrence (Undercover), Doon Mackichan (Smack the Pony) and Daniel Ezra (The Missing, Undercover).
Iqbal Khan directs Shakespeare’s tragedy of love and duty, picking up the story where Julius Caesar ends.Following Caesar’s assassination, Mark Antony has reached the heights of power. Now he has neglected his empire for a life of decadent seduction with his mistress, Cleopatra, Queen of Egypt. Torn between love and duty, Antony’s military brilliance deserts him, and his passion leads the lovers to their tragic end. Iqbal Khan returns to the RSC to direct, following his critically acclaimed productions of Othello (2015) and Much Ado About Nothing (2012).
|Wednesday 24 May 2017||19:00|
Angus Jackson directs Shakespeare's epic political tragedy, as the race to claim the empire spirals out of control.
Caesar returns from war, all-conquering, but mutiny is rumbling through the corridors of power.
The Rome season in the Royal Shakespeare Theatre opens with the politics of spin and betrayal turning to violence. Following his sell-out productions of Tom Morton-Smith's Oppenheimer (2014) and James Fenton's adaptation of Don Quixote (2016), Season Director Angus Jackson steers the thrilling action.
|Wednesday 26 Apr 2017||19:00|
The decay of Rome reaches violent depths in Shakespeare's most bloody play.
Titus is a ruler exhausted by war and loss, who relinquishes power but leaves Rome in disorder. Rape, cannibalism and severed body parts fill the moral void at the heart of this corrupt society.
Shakespeare's gory revenge tragedy presents us with murder as entertainment, and, as the body count piles up, poses questions about the nature of sexuality, family, class and society.
Blanche McIntyre returns to the RSC to direct Shakespeare's brutal revenge tragedy after her debut directing The Two Noble Kinsmen (2016).
|Wednesday 9 Aug 2017||19:00|
Jewels uses three gem stones as starting points to explore an array of musical and dance styles, each intimately connected to Balanchine’s own life and career.
George Balanchine’s glittering ballet Jewels was inspired by the beauty of the gem stones he saw in the New York store of jewellers Van Cleef & Arpels. He went on to make history with this, the first abstract three-act ballet, first performed in 1967 by New York City Ballet. Jewels was performed in full by The Royal Ballet for the first time in 2007, using costume designs from the original NYCB production and new set designs by Jean-Marc Puissant.
Each of the three movements draws on a different stone for its inspiration and a different composer for its sound. The French Romantic music of Fauré provides the impetus for the lyricism of ‘Emeralds’. The fire of ‘Rubies’ comes from Stravinsky and the jazz-age energy of New York. Grandeur and elegance complete the ballet in ‘Diamonds’, with the splendour of Imperial Russia and Tchaikovsky’s opulent Third Symphony. Each section salutes a different era in classical ballet’s history as well as a distinct period in Balanchine’s own life. Through it all, Balanchine displays his genius for combining music with visionary choreography.
The wicked fairy Carabosse is furious she wasn’t invited to Princess Aurora’s christening. She gives the baby a spindle, saying that one day the Princess will prick her finger on it and die. The Lilac Fairy makes her own christening gift a softening of Carabosse’s curse: Aurora will not die, but will fall into a deep sleep, which only a prince’s kiss will break.
On her 16th birthday, Aurora discovers the spindle and pricks her finger. She falls into an enchanted sleep, and the whole palace sleeps with her. One hundred years later, Prince Florimund discovers the palace, hidden deep within a great, dark forest. He wakes Aurora with a kiss.
The masterful 19th-century choreography of Marius Petipa is combined with sections created for The Royal Ballet by Frederick Ashton, Anthony Dowell and Christopher Wheeldon. Together they create an enchanting sequence of gems in the ballet repertory – from the iconic Rose Adage, when Aurora meets her four royal suitors, and the lilting Garland Waltz to the Vision Pas de deux, as Florimund sees Aurora for the first time, and the celebratory divertissements and final pas de deux that bring the ballet to its glorious close. Throughout, Pyotr Il’yich Tchaikovsky’s masterful score takes ballet music to a height of passion, sophistication and intensity that arguably has never been surpassed.
Three movements are each inspired by one of Woolf’s novels – ‘I now, I then’ from Mrs Dalloway, ‘Becomings’ from Orlando and ‘Tuesday’ from The Waves – mingled with influences from her life and work.
Wayne McGregor’s ballet triptych Woolf Works, inspired by the writings of Virginia Woolf, met with outstanding critical acclaim on its premiere in 2015, and went on to win McGregor the Critics’ Circle Award for Best Classical Choreography and the Olivier Award for Best New Dance Production. The Observer described it as ‘a compellingly moving experience’; for The Independent it ‘glows with ambition… a brave, thoughtful work’; The Guardian concluded that ‘it takes both McGregor – and the concept of the three-act ballet – to a brave and entirely exhilarating new place’.
Each of the three acts springs from one of Woolf’s landmark novels: Mrs Dalloway,Orlando and The Waves – but these inspirations are also enmeshed with elements from her letters, essays and diaries. Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism, and brings to life Woolf’s world of ‘granite and rainbow’, where human beings are at once both physical body and uncontained essence. Woolf Works was McGregor’s first full-length work for The Royal Ballet, and saw him reunited with regular collaborator Max Richter, who provides a commissioned score incorporating electronic and orchestral music.
|Wednesday 8 Feb 2017||19:15|
Frederick Ashton was Founder Choreographer of The Royal Ballet. His works define the English style of ballet – characterized most notably by precise, fleet footwork, sensuousépaulement (the way the shoulders are held) and gorgeous line of delicate simplicity. His many works for the Company are arguably its greatest legacy.
The Royal Ballet celebrates this heritage through a mixed programme of three of Ashton’s most loved – and most characteristic – works. The Dream (1964) is an enchanting adaptation of Shakespeare’s A Midsummer Night’s Dream to music by Mendelssohn. Symphonic Variations (1946) is Ashton’s first masterpiece, and a breathtaking, abstract work on the beauty of pure movement. Marguerite and Armand(1963), inspired by the celebrated dance partnership between Margot Fonteyn and Rudolf Nureyev, is a tragic love story of great lyric beauty.
|Wednesday 7 Jun 2017||19:15|
The Count di Luna loves Leonora, but she loves Manrico, the Count’s military enemy. Manrico’s mother Azucena tells him how her mother was burnt to death for supposed witchcraft against the Count’s baby brother. Azucena intended to throw the baby onto the fire – but blinded by revenge she lost her own child to the flames.
The Count captures Manrico and Azucena. Leonora promises herself to him if he will give them their freedom, but secretly takes poison. Leonora dies in Manrico’s arms. The Count has Manrico executed. Azucena reveals that her mother is finally avenged: the Count has murdered his own brother.
Il trovatore is probably best known for its ‘gypsy’ music – the Anvil Chorus, Azucena’s ‘Stride la vampa’ and Manrico’s heroic ‘Di quella pira’ are key examples. But Verdi wrote wonderful music for all four of his leads, with the ‘aristocratic’ ‘Il balen del suo sorriso’ for the Count, and Leonora’s prayer ‘D’amor sull’ali rosee’ among a host of thrilling ensembles and chorus numbers. German director David Bösch, celebrated for his theatrical productions for Munich and Frankfurt among others, makes his UK debut with this new production for The Royal Opera. The opera’s themes of jealousy, revenge and love play out against a hauntingly beautiful, wintry landscape that has been riven by war.
Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their marriage. She lives in hope that one day he will return.
Three years later, Cio-Cio-San and her little son see Pinkerton’s ship in the harbour. She excitedly expects his visit – but Pinkerton and his American wife Kate have come only to take the boy away, to raise him in America. Cio-Cio-San bids her son farewell and then takes her own life.
Puccini drew on Japanese folk melodies for the score, one of his most evocative and atmospheric. In Act I, Cio-Cio-San expresses her radiant happiness in ‘Ancora un passo’, and the two lovers rapturously declare their love for each other in the passionate duet ‘Viene la sera’. In Act II the mood becomes increasingly strained, as in ‘Un bel dì vedremo’ when Cio-Cio-San longs for the ‘fine day’ when her husband will return to her. The romantic exoticism of 19th-century European images of Japan – an integral part ofMadama Butterfly’s character – inspire Moshe Leiser and Patrice Caurier’s elegant production for The Royal Opera.
|Thursday 30 Mar 2017||19:15|
Iago sows the seeds of jealousy in Otello’s mind, fabricating a story of an affair between Iago’s rival Cassio and Otello’s young wife Desdemona. Iago’s trickery cements Otello’s suspicion into mistaken certainty.
Otello murders the innocent Desdemona. Confessions by Iago’s accomplices – including his unknowing wife Emilia – lead to the revelation of Iago’s plot. Appalled by the wrong he has committed, Otello kills himself.
The Italian musical landscape had changed during Verdi’s period of isolation, with many of his compatriots finding inspiration in foreign operatic innovations. Verdi responds inOtello with music that looks back to the traditional forms and structures of Italian opera, but which carries an unmistakably different dramatic thrust and fluidity, in response to Shakespeare’s text. The results are thrilling: from the violent storm that opens the opera through to Iago’s blood-chilling Credo and Otello’s increasingly desperate duets with Desdemona. Keith Warner (Wozzeck, Der Ring des Nibelungen) directs a new production of this masterpiece, The Royal Opera’s first in 30 years.
|Wednesday 28 Jun 2017||19:15|
SILENCE is a historical drama, set in the seventeenth century, in which two Jesuit priests travel to Japan in search of their missing mentor.
SING is an animated feature about a group of animals taking part in a singing contest.
After a wholesome teen birthday party, three girls are kidnapped in broad daylight: friends Claire (Haley Lu Richardson) and Marcia (Jessica Sula), and difficult outsider Casey (Anya Taylor-Joy). Their captor Kevin (James McAvoy) locks the trio in a windowless room, then proceeds to frighten and baffle them. One minute he's wearing eyeglasses and obsessive about cleanliness, the next he's presenting as female, and later he acts like a nine-year-old boy. It is revealed that Kevin exhibits some 23 alternate personalities, and in order to escape, his captives must hope that one of these 23 will set them free, before the 24th personality awakens.