Following the events of the first film, Brad and Dusty (Will Ferrell and Mark Wahlberg) must deal with their intrusive fathers (John Lithgow and Mel Gibson) during the holidays, along with Dusty dealing with his stepchild's biological father, Roger (John Cena).
Ferdinand (John Cena) is a Spanish Fighting Bull who prefers smelling the flowers and practicing non-violence rather than chasing red cloths held by matadors in arenas. But when disaster comes to him, he is taken to a fighting stadium, and Ferdinand needs to decide if he is a fighting bull or a flower smelling, generous bull, in order to earn his freedom.
Twenty years after the events of the first film, the infamous board game has evolved into a video game and while cleaning out a school's basement serving detention, four teenagers find it and get sucked into the same jungle setting that Alan Parrish got sucked into all those years ago. They also become their avatars inside the game and the only way out is to play along and finish it.
Months after the events of Batman v Superman: Dawn of Justice and inspired by Superman's apparent sacrifice for humanity, Bruce Wayne and Diana Prince assemble a team of metahumans consisting of Barry Allen, Arthur Curry, and Victor Stone to face the catastrophic threat of Steppenwolf and his army of Parademons, who are on the hunt for three Mother Boxes on Earth.
A fairy godmother, a glass slipper, an opulent ball, an enchanted forest, and a Prince Charming who loves her—did all that really happen, or was it just a dream? Long-suffering Cendrillon lives a life of drudgery with her good-natured father and his imperious wife, until fate, romance, and a touch of fairy magic intervene. For the first time ever, Massenet’s sumptuous version of the Cinderella story comes to the Met in this imaginative storybook production directed by Laurent Pelly. Superstar Joyce DiDonato sings the title role, alongside British mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the archetypal wicked stepmother.
Goaded by their cynical friend Don Alfonso, soldiers Ferrando and Guglielmo decide to test their fiancées’ fidelity. Pretending to leave with their regiment, they return in disguise and pay court to each other’s lover. Will the young women succumb to the charms of these two handsome ‘foreigners’? A co-production with English National Opera, this clever vision of the battle of the sexes is set in a carnivalesque environment inspired by 1950s Coney Island. The cast features Amanda Majeski and Serena Malfi as the sisters put to the test, with Broadway star Kelli O’Hara as their feisty maid, Ben Bliss and Adam Plachetka as their fiancés, and Christopher Maltman as Don Alfonso. David Robertson conducts Mozart’s delightful score.
The poor country boy Nemorino is in love with Adina, a confident landowner, but she is way out of his league—financially and otherwise. But when he buys a “love potion” from a travelling quack, the results are rather more than he bargained for. Charmingly staged by Bartlett Sher, Donizetti’s beloved masterpiece combines deft comic timing with touching emotional depth. The production stars Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his moving “Una furtiva lagrima.” Rising South African soprano Pretty Yende is the spirited Adina, Davide Luciano makes his Met debut as the arrogant soldier Belcore, and Ildebrando D’Arcangelo is the potion-peddling Doctor Dulcamara. Domingo Hindoyan conducts.
The world’s most popular opera returns with an exciting young cast in Franco Zeffirelli’s legendary production. Poverty-stricken poet Rodolfo and his artist friends eke out a precarious existence in bohemian Paris, alternately practising their art, laughing, quarrelling, dodging the landlord, and living it up in their local cafe. When Rodolfo meets the delicate Mimì, the pair instantly fall in love. But Mimì is ill, Rodolfo is jealous, and their romance is doomed from the start. Opera superstars Sonya Yoncheva and Michael Fabiano play the heart-breaking couple, singing two sublime Puccini favourites—“Sì, mi chiamano Mimì” and “Che gelida manina.” Zeffirelli’s stupendous onstage recreations of 19th-century Paris are sure to take your breath away.
James Levine and Plácido Domingo add yet another chapter to their legendary Met collaboration with this rarely performed Verdi gem, a heart-wrenching tragedy based on Friedrich Schiller’s novel Intrigue and Love. The young maiden Luisa loves Rodolfo, unaware that he is actually the son of the local lord. An unscrupulous rival for her affections tells her father of Rodolfo’s true identity, turning the old man against him. Jealousy, suspicion, and betrayal tear the lovers apart, but Luisa remains loyal to her father to the last. In the first Met performances of the opera in more than ten years, Sonya Yoncheva sings the title role opposite Piotr Beczała as Rodolfo, with Domingo as Luisa’s stern-yet-loving father.
Against the backdrop of the Hanging Gardens, Semiramide, Queen of Babylon, defies bad omens and supernatural threats in her quest to find a worthy successor to her late husband. But she harbours more than one dark secret, and whoever gains the throne may find that he has lost more than he has won. Based on a story by Voltaire, this rarely performed tragic opera reveals The Barber of Seville composer Giaochino Rossini in a whole new light. The title role—composed for Rossini’s wife, Isabella Colbran—features some of the most demanding vocal music he ever wrote. Angela Meade takes on the challenging vocal fireworks in this revival of a production last seen at the Met 25 years ago.
Puccini’s thrilling Tosca is a story of love, terror, the abuse of power, and the unquenchable longing for freedom. When an escaped political prisoner takes refuge in a church, an opera singer and a painter are drawn into a twisting plot that puts them at the mercy of the secret police and its network of torturers and spies. Rivalling the splendour of Franco Zeffirelli’s Napoleonic-era sets and costumes, Sir David McVicar’s ravishing new production offers a splendid backdrop for extraordinary singing. Kristine Opolais stars as the titular prima donna, alongside Vittorio Grigolo as her artist lover and Bryn Terfel as the villainous police chief—one of his signature roles. Andris Nelsons conducts.
Ben Whishaw (The Danish Girl, Skyfall, Hamlet) and Michelle Fairley (Fortitude, Game of Thrones) play Brutus and Cassius, David Calder (The Lost City of Z, The Hatton Garden Job) plays Caesar and David Morrissey (The Missing, Hangmen, The Walking Dead) is Mark Antony. Broadcast live from The Bridge Theatre, London.
Caesar returns in triumph to Rome and the people pour out of their homes to celebrate. Alarmed by the autocrat’s popularity, the educated élite conspire to bring him down. After his assassination, civil war erupts on the streets of the capital.
Nicholas Hytner’s production will thrust the audience into the street party that greets Caesar’s return, the congress that witnesses his murder, the rally that assembles for his funeral and the chaos that explodes in its wake.
The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness.
Shakespeare’s most intense and terrifying tragedy, directed by Rufus Norris (The Threepenny Opera, London Road), will see Rory Kinnear (Young Marx, Othello) and Anne-Marie Duff (Oil, Suffragette) return to the National Theatre to play Macbeth and Lady Macbeth.
Tennessee Williams’ twentieth century masterpiece Cat on a Hot Tin Roof played a strictly limited season in London’s West End in 2017. Following his smash hit production of A Streetcar Named Desire, Benedict Andrews’ ‘thrilling revival’ (New York Times) stars Sienna Miller alongside, Jack O’Connell and Colm Meaney.
On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday. The scorching heat is almost as oppressive as the lies they tell. Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?
"A bold reimagining…innovative and powerfully acted"
"A brilliant, lacerating account of the play… unforgettable"
"Miller and O’Connell get to a raw and naked truth"
Paddington, having settled with the Brown family in Windsor Gardens, has become popular in his community. He sees a unique pop-up book in Mr. Gruber's antique shop, and performs several odd jobs to purchase it as a present for his aunt Lucy's 100th birthday. When the book is stolen, it is up to him and the Browns to apprehend the thief.
After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there aren’t job prospects for making accapella music. But when they get the chance to reunite for an overseas USO tour, they reunite to make some music, and some questionable decisions, one last time.
was one of the first classical
composers in America to achieve both popular
and critical acclaim. He was eclectic in his
sources – drawing on jazz and modernism, the
traditions of Jewish music and the Broadway
musical – and many of Bernstein’s scores
are remarkably well suited to dance. He was
particularly associated with Jerome Robbins,
their credits together including
West Side Story
. To celebrate the centenary
year of the composer’s birth,
has united all three of its associate
choreographers to celebrate the dynamic range
and danceability of Bernstein’s music.
The programme includes two world
Resident Choreographer Wayne
Artistic Associate Christopher
, marking each artist’s first foray
into Bernstein. At the heart of the programme
is the first revival of
Artist in Residence Liam
The Age of Anxiety
, created in 2014 to
Bernstein’s soul-searching Second Symphony.
Both symphony and ballet are inspired by
W.H. Auden’s masterful modernist poem,
itself written in response to the atmosphere of
disillusionment and uncertainty that followed
the end of World War II.
is the best-known work by French
, and one of the
most famous operas in the entire art form
– numbers such as the Habanera and the
Toreador Song have permeated the popular
consciousness as little else has. The opera’s
heady combination of passion, sensuality
and violence initially proved too much for
the stage, and it was a critical failure on its
1875 premiere. Bizet died shortly after, and
never learned of the spectacular success his
would achieve: the opera has been
performed more than five hundred times at
Covent Garden alone.
This ever-popular opera is given a fresh
point of view in
physical production, originally created for
Frankfurt Opera. The Australian director is
one of the world’s most sought-after opera
directors, whose Royal Opera debut with
in 2016 was greeted
with delight. For
he has devised a far-
from-traditional version, incorporating music
written by Bizet for the score but not usually
heard, and giving a new voice to the opera’s
endlessly fascinating central character.
’s life-long love affair with Shakespeare’s
works began with
, a play he
considered to be ‘one of the greatest creations
of man’. With his librettist, Francesco Maria
Piave, Verdi set out to create ‘something out
of the ordinary’. Their success is borne out in
every bar of a score that sees Verdi at his most
theatrical: it bristles with demonic energy.
The warrior Macbeth fights on the side of
the King of Scotland – but when a coven of
witches prophesy that he shall become king
himself, a ruthless ambition drives Macbeth
and his wife to horrific acts.
Murder makes Macbeth king, and intrigue
and butchery are the hallmarks of his brief,
doomed reign. The witches make another
prediction, which also comes true: Macbeth
and his lady lose their lives, and justice is
’s 2002 production for The
Royal Opera is richly hued, shot through with
black, red and gold. The witches – imagined
scarlet-turbaned creatures – are ever-present
agents of fate. Lloyd depicts the Macbeths’
childlessness as the dark sadness lurking
behind their terrible deeds.
The Royal Opera
production uses Verdi’s 1865 Paris revision
of the opera, which includes Lady Macbeth’s
riveting aria ‘La luce langue’.
Manon’s brother Lescaut is offering her to the
highest bidder when she meets Des Grieux
and falls in love. They elope to Paris, but
when Monsieur G.M. offers Manon a life of
luxury as his mistress she can’t resist. With
the Lescauts’ encouragement Des Grieux
cheats at cards in an attempt to win Monsieur
G.M.’s fortune. They are caught. Manon is
arrested as a prostitute and deported to New
Orleans, followed by Des Grieux. On the run,
Manon dies from exhaustion.
’s source for
was the 18th-century French novel already
adapted for opera by
The premiere was given on 7 March 1974,
with the lead roles danced by Antoinette
Sibley and Anthony Dowell. The ballet
quickly became a staple of The Royal
Ballet’s repertory, and a touchstone of
adult, dramatic dance.
MacMillan found new sympathy with
the capricious Manon and her struggle
to escape poverty. Designs by his regular
this, depicting a world of lavish splendour
polluted by miserable destitution. MacMillan’s
spectacular ensemble scenes for the whole
Company create vivid, complex portraits
of the distinct societies of Paris and New
Orleans. But it is Manon and Des Grieux’s
pas de deux
– recalling the
intensity of MacMillan’s earlier
– that drive this tragic story,
one of MacMillan’s
most powerful dramas.
The corruption of innocence is at the heart
of Verdi’s potent tragedy in
production for The Royal Opera.
Rigoletto, court jester to the libertine Duke
of Mantua, is cursed by the father of one of
the Duke’s victims for his irreverent laughter.
When the Duke seduces Rigoletto’s daughter
Gilda, it seems the curse is taking effect...
David McVicar’s production highlights
the cruelty at the heart of the court of
Mantua. Richly dressed courtiers engage in
orgies and revelries to Verdi’s heady, spirited
dances. The opera’s many musical highlights
include the ebullient ‘La donna è mobile’, in
which the Duke boasts of his disregard for
women; Gilda’s exquisite, plangent duets with
Rigoletto and the Duke; and the gorgeous
Act III quartet that beautifully weaves the
voices together as the story quickens to its
wrote in 1855 that
was his ‘best opera’. He had had
to overcome state censorship to stage it –
the censors objected to its depiction of an
immoral ruler – but he was vindicated by the
premiere’s huge success in 1851.
performed 250 times in the next 10 years and
has remained one of the most popular of all
has had a special role in the
The Royal Ballet
This Season The Royal Ballet creates a new
production with additional choreography
by Artist in Residence
remaining faithful to the Petipa-Ivanov text,
Scarlett will bring fresh eyes to the staging
of this classic ballet, in collaboration with his
Prince Siegfried chances upon a fl ock of
swans while out hunting. When one of the
swans turns into a beautiful woman, Odette,
he is enraptured. But she is under a spell that
holds her captive, allowing her to regain her
human form only at night.
’s fi rst ballet
score. Given its status today as arguably the
best loved and most admired of all classical
ballets, it is perhaps surprising that at its
premiere in 1877
received. It is thanks to the 1895 production
by Marius Petipa and Lev Ivanov that
has become part of not only ballet
consciousness but also wider popular culture.
That success is secured not only by the
sublime, symphonic sweep of Tchaikovsky’s
score, but also by the striking choreographic
contrasts between Petipa’s royal palace
scenes and the lyric lakeside scenes created
, Artistic Associate
of The Royal Ballet, created his adaptation
of Shakespeare’s late great romance
for The Royal Ballet in 2014.
Building on the success of
The Winter’s Tale
ecstatic praise at its premiere, acclaimed by
critics and audiences alike for its intelligent,
distinctive and emotionally powerful story,
told through exquisite dance. It is now widely
judged to be a modern ballet classic.
The story follows the destruction of a
marriage through consuming jealousy, the
abandonment of a child and a seemingly
hopeless love. Yet, through remorse and
regret – and after a seemingly miraculous
return to life – the ending is one of
forgiveness and reconciliation. With powerful
The Winter’s Tale
masterful modern narrative ballet.
is one of the great evenings of opera,
and from its strident opening chords conjures
up a world of political instability and menace.
’s production for
captures the dangerous political
turbulence of Rome in 1800. The Chief of
Police, Scarpia – one of the most malevolent
villains in opera – ruthlessly pursues and
tortures enemies of the state. His dark,
demonic music contrasts with the expansive
melodies of the idealistic lovers, Tosca and
Cavaradossi, who express their passion in
sublime arias, including ‘Vissi d’arte’ and ‘E
lucevan le stelle’.
work was a hit with audiences on its 1900
premiere and it remains one of the most
performed of all operas – with its gripping
plot and glorious music, it’s easy to see why.
A candle-lit church, Scarpia’s gloomy
study with its hidden torture chamber and
the false optimism of a Roman dawn: this
handsome production throws into relief the
ruthlessly taut drama, as the tension is wound
up towards a fateful conclusion. Puccini’s
meticulously researched score is infused
with the same authentic detail, from distant
cannon fire during the Act I Te Deum to
tolling church bells and the sounds of a firing
Having taken her first steps into a larger world in Star Wars: The Force Awakens (2015), Rey continues her epic journey with Finn, Poe, and Luke Skywalker in the next chapter of the saga.
In October 1843, Charles Dickens (Dan Stevens) was suffering from the failure of his last three books. Rejected by his publishers, he set out to write and self-publish a book he hoped would keep his family afloat and revive his career. The film tells the story of the six fever-pitched weeks in which Dickens created A Christmas Carol. The film takes audiences inside the magical process that brought to life Ebenezer Scrooge (Christopher Plummer), Tiny Tim and others, changing the holiday into the merry family event we know today as Christmas.
August "Auggie" Pullman (Jacob Tremblay) is a young boy born with a facial difference who has been in and out of hospitals for years. With the help of his mother, Isabel (Julia Roberts) and his father, Nate (Owen Wilson), he tries to fit in at a new school named Beecher Prep and shows everyone that he is just an ordinary kid, no different than the rest of the world. He strives to teach others that beauty is not just on the outside.