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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|
Belle, whose father is imprisoned by the Beast, offers herself instead, unaware her captor to be an enchanted prince.
|Saturday 10 Dec 2016||14:00 (Teenage Cancer Trust Charity) (Low)|
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|
Aged 43, Bridget Jones is struggling with the trials of life, not the least of which is her break up with her love Mark Darcy. Pushing forward and working to find fulfillment in other aspects of her life seems to do wonders until her love life comes back from the dead when she meets a dashing and handsome American named Jack (Patrick Dempsey). Things couldn't be better, until Bridget discovers that she is pregnant. Now, the befuddled mum-to-be, her loyal entourage of friends and eccentric co-workers, and her amused yet no-nonsense gynecologist, must work out if the proud father is Mark or Jack.
DEEPWATER HORIZON is a drama, based on real events, about an explosion aboard an oil rig in the Gulf of Mexico and the subsequent rescue of survivors.
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.
In Ancient Japan, an eyepatch-wearing young boy named Kubo cares for his sick mother in a village. A spirit from the past turns Kubo's life upside down by re-igniting an age-old vendetta. This causes all sorts of havoc as gods and monsters chase Kubo. In order to survive, Kubo must locate a magical suit of armor once sought by his late father, a legendary Samurai warrior. He also gains some allies in Monkey and Beetle.
When tragedy strikes close to home, 16-year-old Jacob "Jake" Portman is forced to travel to a mysterious island in order to discover the truth of what really happened. Jake's ordinary life takes an extraordinary turn as the childhood fairytales he heard from his grandfather start to become more plausible. After stumbling into what seems to be a different world, Jake is introduced to the extraordinary Miss Peregrine and her peculiar children at Miss Peregrine's Home for Peculiar Children. But when what seems to be a fairytale takes a horrific turn, Jake is forced to make a life altering decision in order to protect the ones he loves from the monsters of his grandfather's past, the creepy Hollows and the dangerous Wights led by the terrifying Mr. Barron.
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.
|Sunday 16 Oct 2016||14:00 (SOLD OUT) (Low)|
"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).
Following their hit run on Broadway, Ian McKellen and Patrick Stewart return to the West End stage in Harold Pinter's No Man's Land, broadcast live to cinemas from Wyndham's Theatre, London.
One summer's evening, two ageing writers, Hirst and Spooner, meet in a Hampstead pub and continue their drinking into the night at Hirst's stately house nearby. As the pair become increasingly inebriated, and their stories increasingly unbelievable, the lively conversation soon turns into a revealing power game, further complicated by the return home of two sinister younger men.
Also starring Owen Teale and Damien Molony, don't miss this glorious revival of Pinter's comic classic. The broadcast will be followed by an exclusive Q&A with the cast and director Sean Mathias.
|Thursday 15 Dec 2016||19:00|
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|
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|
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 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|
Divorcee Rachel Watson takes the train to work every day and spends her commute fantasizing about a young couple living down the street from her ex-husband. One morning, she sees something shocking and finds herself entangled in a mystery that promises to forever alter the lives of everyone involved.
Set in the 1870s shortly after the Civil War, as the town Rose Krick is put under the siege of industrialist Bartholomew Bogue, the residents enlist the help of seven outlaws, a bounty hunter Sam Chisolm, a gambler Josh Faraday, a sharpshooter Goodnight Robicheaux, a tracker Jack Horne, an assassin Billy Rocks, a Mexican outlaw Vasquez, and a Comanche warrior Red Harvest, to protect them while they prepare for the anticipated violent confrontation. However, upon meeting the town's residents, the Seven find themselves fighting for much more than money.
A newly engaged couple have a breakdown in an isolated area and must pay a call to the bizarre residence of Dr. Frank-N-Furter.
|Monday 31 Oct 2016||19:00 (Young Carer Fundraiser)|