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Christmas with André, a festive celebration, features an 80 minute recorded Christmas concert, packed with Christmas favourites including Hallelujah, Jingle Bells, White Christmas, Amazing Grace and many more!
Exclusively for cinemas, André invites his fans to his hometown with an intimate live tour of Maastricht's magical Christmas highlights, as well as participating in an interactive Q&A hosted by Charlotte Hawkins. We will be asking cinema managers to send their photos of guests arriving for the event, to be included in a special "Cinema Audience" segment played out at the end of the broadcast!
|Saturday 19 Nov 2016||17:00|
ASTERIX: THE MANSIONS OF THE GODS is an animation comedy about Asterix and Obelix, who fight against Caesar's plan to build Roman mansions next to a Gaulish village.
BAD MOMS is a US comedy about a struggling working mother who decides to abandon the standards of perfect motherhood set by the school PTA.
John Osborne’s modern classic ‘The Entertainer’ is revived at the Garrick Theatre, starring Kenneth Branagh as the unforgettable Archie Rice, a racist, sexist music hall performer whose career is failing.
Set against the backdrop of Britain after the Second World War, director Rob Ashford summons up the grimy glamour of old vaudeville for this explosive exploration of the difference between who we are on stage and who we are in private.
Branagh takes up the role first made famous by the legendary Laurence Olivier, bringing ‘The Entertainer’ back onto the stage and screen.
|Thursday 27 Oct 2016||19:15|
In 1926, Newt Scamander (Eddie Redmayne) arrives at the Magical Congress of the United States of America for a meeting with an important official. At this meeting is a magically expanded briefcase, which houses a number of dangerous creatures and their habitats. When the creatures escape from the briefcase, it sends the American wizarding authorities after Newt, and threatens to strain even further the state of magical and non-magical relations.
The mistake has a devastating effect on Wizarding/No-Maj relations, which is already in a dangerous place, due to the threatening presence of the fanatical New Salem Philanthropic Society, an extremist organization dedicated to the eradication of wizard-kind. Newt battles to correct the mistake, and the horrors of the resultant increase in violence, fear, and tension felt between magical and non-magical peoples.
Six months after the events of the first film, Dory suddenly recalls her childhood memories. Remembering something about "the jewel of Morro Bay, California", accompanied by Nemo and Marlin, she sets out to find her family. She arrives at the Monterey Marine Life Institute, where she meets Bailey, a white beluga whale; Destiny, a whale shark; and Hank, an octopus, who becomes her guide.
Michael Bublé - TOUR STOP 148 presents a front row seat to the superstar's phenomenally successful sold out To Be Loved Tour which concluded in 2015 and was seen globally by over two million fans. Filmed for the big screen with superb 5.1 surround sound, Michael Bublé - TOUR STOP 148 showcases thrilling live performances of many of the Grammy Award winning singer-songwriter's biggest hits, including Home, Haven't Met You Yet, Cry Me A River and Feelin' Good. The performance is intercut with never-before-seen behind-the-scenes footage of Team Bublé bringing this moveable feast from arena to arena for two years. This must-see event includes a special 15 minute introduction with Michael Bublé EXCLUSIVE to cinemas - don't miss it!
The legendary Miss Saigon, in cinemas for one night only.
This spectacular, sell-out 25th Anniversary Gala Performance of the global stage sensation also features appearances by the original cast including Jonathan Pryce and Lea Salonga. This acclaimed new production was described as “the most thrilling, soaring and emotionally stirring musical with magnificent performances” by the Daily Telegraph and “the greatest musical of all time” by the Daily Mail. The epic love story tells the tragic tale of young bar girl Kim, orphaned by war, who falls in love with American GI Chris – but their lives are torn apart by the fall of Saigon.
Helen McCrory (Medea and The Last of the Haussmans at the National Theatre, Penny Dreadful, Peaky Blinders) returns to the National Theatre in Terence Rattigan's devastating masterpiece, playing one of the greatest female roles in contemporary drama. Tom Burke (War and Peace, The Musketeers) also features in Carrie Cracknell's critically acclaimed new production.
A flat in Ladbroke Grove, West London. 1952.
When Hester Collyer is found by her neighbours in the aftermath of a failed suicide attempt, the story of her tempestuous affair with a former RAF pilot and the breakdown of her marriage to a High Court judge begins to emerge.
With it comes a portrait of need, loneliness and long-repressed passion. Behind the fragile veneer of post-war civility burns a brutal sense of loss and longing.
Mack the Knife is back in town.
A darkly comic new take on Brecht and Weill's raucous musical broadcast live from the stage of the National Theatre.
London scrubs up for the coronation. The thieves are on the make, the whores on the pull, the police cutting deals to keep it all out of sight. Mr and Mrs Peachum are looking forward to a bumper day in the beggary business, but their daughter didn't come home last night and it's all about to kick off…
With Olivier Award-winner Rory Kinnear (Hamlet, Othello, James Bond) as Macheath, alongside Rosalie Craig (As You Like It, My Family and other Animals) as Polly Peachum and Haydn Gwynne (The Windsors, Drop the Dead Donkey) as Mrs Peachum.
This bold, anarchic production is brought to you by a creative powerhouse: adapted by Simon Stephens (The Curious Incident of the Dog in the Night-Time), and directed by Rufus Norris (Everyman, London Road).
Contains scenes of a sexual nature, violence and filthy language.
|Thursday 22 Sep 2016||19:00|
Tom Brand (Kevin Spacey) is a major business tycoon who has distanced himself from his daughter Rebecca (Malina Weissman) and his wife Lara (Jennifer Garner). In a rush to get a last-minute gift for his daughter's 11th birthday, he goes to a mysterious pet shop run by Felix Perkins (Christopher Walken) and buys a cat. On the way home however, Tom gets in an accident and finds himself trapped inside the cat's body. He is told by Felix he must reconcile with his family within one week, or be stuck as a cat forever.
In the Pacific Northwest United States, forest ranger Grace Meacham (Bryce Dallas Howard) finds a young boy named Pete (Oakes Fegley) who lived in the woods for six years with a mysterious dragon named Elliott. With help from her wood-carver father (Robert Redford) and Natalie (Oona Laurence), the daughter of lumber mill owner Jack (Wes Bentley), Grace sets out to find out Pete's identity and the truth about Elliott. But problems arise when hunter Gavin (Karl Urban), Jack's brother and Natalie's uncle, plans to capture Elliott.
Simon Russell Beale returns to the RSC after 20 years to play Prospero in this groundbreaking production directed by Artistic Director Gregory Doran.
On a distant island a man waits. Robbed of his position, power and wealth, his enemies have left him in isolation. But this is no ordinary man, and this no ordinary island. Prospero is a magician, able to control the very elements and bend nature to his will. When a sail appears on the horizon, he reaches out across the ocean to the ship that carries the men who wronged him. Creating a vast magical storm he wrecks the ship and washes his enemies up on the shore. When they wake they find themselves lost on a fantastical island where nothing is as it seems.
In a unique partnership with Intel, the production will be using today’s most advanced technology in a bold reimagining of Shakespeare’s magical play, creating an unforgettable theatrical experience.
|Wednesday 11 Jan 2017||19:00|
Melly Still directs Shakespeare's rarely performed romance of power, jealousy, love and reconciliation.
Troubled Cymbeline (Gillian Bevan) rules a divided Britain. Two sons were stolen in infancy, the only surviving heir to the throne being Innogen (Bethan Cullinane). But Innogen has secretly married her commoner sweetheart, Posthumus. Enraged, Cymbeline banishes Posthumus to Rome. In exile, he's tricked by the scheming Iachimo into believing that Innogen has been unfaithful to him and embarks on an impulsive, jealous plan to have her murdered. Infrequently performed today, this new production of Shakespeare's powerful tale of deceit, pursuit and seduction is directed by Melly Still, who designed Tales from Ovid and Midnight's Children for the RSC. Her directing credits include The Cunning Little Vixen for Glyndebourne Opera and Coram Boy for the National Theatre.
Gillian Bevan makes history as the first woman to take the role of Cymbeline for the RSC. Bethan Cullinane makes her RSC debut as Innogen.
|Wednesday 28 Sep 2016||19:00|
Esteemed stage actor Anthony Sher returns to the realm of Shakespeare's timeless tragedy.
King Lear (Anthony Sher) has ruled for many years but age is finally catching up with him. Realising that his time will soon be at an end, he makes plans to divide his kingdom between his children, looking to pass on the burden of power. However, he cannot foresee the torment and turmoil that will ensue when he misjudges the loyalty of his own offspring, who ultimately leave him alone and desolate in the wilderness. At the end of his tether, the once mighty Lear is compelled to reflect on the state of his life and the mistakes he has made.
King Lear is one of Shakespeare's most famous and powerful works, and returning to the title role is the acclaimed Anthony Sher, a veteran stage performer who has electrified in the likes of The Tempest, Othello and The Winter's Tale for the RSC.
|Wednesday 12 Oct 2016||19:00|
Events overtake the young Grand Duchess Anastasia Romanov and her family: World War I is declared, and then the Russian Revolution brings their privileged lives to an end.
A woman who believes herself to be Anastasia, sole survivor from the massacre of the Romanovs, is incarcerated in an asylum. Memory and fantasy intermingle; she recalls her rescue, the death of her husband, the disappearance of her child and her attempted suicide. But, despite her nightmares, her faith in her own identity cannot be shaken.
One of MacMillan’s first creative acts on becoming Director of The Royal Ballet was to adapt Anastasia into a three-act, full-length work, his first for the Company since Romeo and Juliet. He created two preceding acts to the Berlin act, using music by Tchaikovsky to explore Anna’s ‘memory’ of events in the Imperial family leading up to the Russian Revolution – providing a powerful context for the disturbed Anna’s nightmares of the final act. The full ballet, first performed in 1971, was a declaration of intent: it showcased MacMillan’s dual influences, of classical, Royal Ballet tradition in the first two acts, and of German expressionism – a style then entirely new to British audiences – in the final. The ballet remains one of MacMillan’s most experimental and poignant works.
|Wednesday 2 Nov 2016||19:15|
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 young Clara creeps downstairs on Christmas Eve to play with her favourite present – a Nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure.
After defeating the Mouse King, the Nutcracker and Clara travel through the Land of Snow to the Kingdom of Sweets, where the Sugar Plum Fairy treats them to an amazing display of dances. Back home, Clara thinks she must have been dreaming – but doesn’t she recognize Drosselmeyer’s nephew?
In Peter Wright’s classic production for The Royal Ballet, the stage sparkles with theatrical magic – a Christmas tree grows before our eyes, toy soldiers come to life to fight the villainous Mouse King and Clara and the Nutcracker are whisked off to the Kingdom of Sweets on a golden sleigh. Tchaikovsky’s score contains some of ballet’s best-known melodies, from the flurrying Waltz of the Snowflakes to the dream-like Dance of the Sugar Plum Fairy – all brilliantly set in Wright’s choreography. Julia Trevelyan Oman’s designs draw upon 19th-century images of Christmas, making this magical production perfect for the festive season.
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|
Ferrando loves Dorabella and Guglielmo loves Fiordiligi – but their friend Don Alfonso is sceptical. He offers the young men a bet: given the opportunity, their loves will prove unfaithful in less than a day. Confident of their girlfriends’ fidelity, Ferrando and Guglielmo accept.
The men pretend to be called away to war, only to return in disguise: each begins to woo the other’s lover. It quickly becomes clear that the feelings of all four lovers are much more complicated than any of them had thought. Don Alfonso watches on as the young men and women graduate through his school for lovers.
German director Jan Philipp Gloger makes his Royal Opera debut with this new production of Così fan tutte, following such previous credits as Der fliegende Holländer for the Bayreuth Festival and Der Rosenkavalier for Dutch National Opera. He and his team of regular collaborators take their inspiration from Mozart and Da Ponte’s alternative title for the opera: ‘The School for Lovers’. Don Alfonso, a mischievous theatrical impresario, leads the young lovers on a journey through their emotions, using all the resources of his theatre in a quest to prove to them that, in Gloger’s words, ‘love is not a God-given thing, but something that we have to fight for, find, define, create and dream newly, almost every day’.
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|
The priestess Norma loves Pollione, leader of the occupying force suppressing her people, and has borne two children by him. But Pollione’s love has withered, and he now loves Norma’s fellow priestess Adalgisa. Meanwhile, the people urgently look to Norma to lead their rebellion.
Norma discovers the love between Pollione and Adalgisa. Furiously she gives the signal for war. Pollione is captured, attempting to steal away with Adalgisa. Norma, called upon to announce a sacrificial victim to consecrate the uprising, declares it shall be a guilty priestess: herself.
This new production of Norma is The Royal Opera’s first in nearly thirty years. Directing is Àlex Ollé, of the Catalan collective La Fura dels Baus, reunited with the creative team behind his acclaimed production of Oedipe. They give Norma a contemporary setting against a backdrop of a cruel civil war, and focus on the opera’s exploration of the conflict between an individual’s own desires and those of her society – and of religion as a force for unity and for destruction.
The great storyteller Hoffmann is losing himself to drink. His rival in love, Councillor Lindorf, claims that Hoffmann knows nothing of the heart, and so goads Hoffmann into telling the tales of his three great loves – each destroyed by a villain who bears an uncanny resemblance to Lindorf…
First Hoffmann tells of his infatuation for the mechanical doll, Olympia – who is destroyed by the inventor Coppélius. Next comes the courtesan Giulietta, who throws over his adoration in favour of jewels from the magician Dappertutto. Finally, the gentle Antonia is forced to sing to her death by the wicked Doctor Miracle. His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with Stella, Hoffmann’s latest love – but the Muse compels him to transform his heartache into art.
The Royal Opera’s production of Les Contes d’Hoffmann was created in 1980 by the award-winning director John Schlesinger, best known for his work in film (Midnight Cowboy, Sunday Bloody Sunday) and television (Cold Comfort Farm, An Englishman Abroad). Schlesinger’s production sets Hoffman’s tales in the late 19th century, the time in which Offenbach wrote his opera. William Dudley’s magnificent set designs and Maria Björnson’s sumptuous costumes realize to brilliant effect the extravagant flourishes of Hoffmann’s imaginative world.
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|
SAUSAGE PARTY is a comedy animation about the products in a supermarket discovering what will really happen to them when they are sold.
A secret government agency led by Amanda Waller recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency and saving the world from an unknown but powerful threat.
SWALLOWS AND AMAZONS is an adaptation of the novel by Arthur Ransome, in which four siblings go on an adventure on a boat in the Lake District.
Sophie (Ruby Barnhill) befriends a friendly giant named the BFG (Mark Rylance) as they set out on an adventure to capture the evil, man-eating giants who have been invading the human world.
A film by Academy Award®-winning director Ron Howard, with World Premiere Event broadcast live – only in cinemas September 15
The Beatles: Eight Days A Week - The Touring Years is based on the first part of The Beatles’ career (1962-1966) – the period in which they toured and captured the world’s acclaim. Ron Howard’s film will explore how John Lennon, Paul McCartney, George Harrison and Ringo Starr came together to become this extraordinary phenomenon, “The Beatles.” It will explore their inner workings – how they made decisions, created their music and built their collective career together – all the while, exploring The Beatles’ extraordinary and unique musical gifts and their remarkable, complementary personalities. The film will focus on the time period from the early Beatles’ journey in the days of The Cavern Club in Liverpool to their last concert at Candlestick Park in San Francisco in 1966.
|Thursday 15 Sep 2016||18:00|
WAR DOGS is a biographical comedy crime drama about a massage therapist who switches careers to enter the international arms business.