Northern Ballet's Little Red Riding Hood: a fully engaged audience

Julie Nunès as Little Red and Northern Ballet in Little Red Riding Hood

Julie Nunès as Little Red in Mariana Rodrigues’ Little Red Riding Hood

Von Daniel Pratt, 27 Oktober 2025

Laden, bitte warten...

Veranstaltung anzeigen

“introducing children to live performance is an essential part of our cultural offerings”

Rezensierte Veranstaltung: Royal Opera House: Linbury Theatre, London, am 23 Oktober 2025

Little Red Riding Hood (Mariana Rodrigues)

Northern Ballet

Marjoke Henrichs, Bühnenbild

Mariana Rodrigues, Kostüme

Abbi Fearnley, Licht

Julie Nunès, Tanz

Noah Benzie-Drayton, Tanz

Kaho Masumoto, Tanz

Albert González Orts, Tanz

Tulsa Ballet at the Linbury: an unforgettable, punchy UK debut

Deborah Weiss, 13th May

A stupendous London debut from Tulsa Ballet in which they present a contrasting triple bill. It bodes well for further invitations to dance in the UK.

*****

Two funerals and a bedding at the Linbury Theatre

Eleanor Knight, 1st May

Tales of love and loss as operas by Elena Langer, Charlotte Bray and Elizabeth Maconchy form a varied triple bill in this showcase for The Royal Opera’s Jette Parker Artists.

****1

International Draft Works at the Linbury brought much to delight

Amanda Jennings, 16th April

The Royal Ballet's International Draft Works proved to be an excellent opportunity to see dancers and budding choreographers from around the world.

****1

The Turn of the Screw at RBO Linbury: Darkness and denial

Eleanor Knight, 26th March

Natalie Abrahami’s mesmerising new production of Britten’s ghostly tale of sexual abuse is very dark indeed.

*****

Ballet Black at 25: irrepressible talent

Maggie Foyer, 4th March

Ballet Black presents a double bill at the Linbury that showcases the strengths of its very fine dancers as well as the depth of choreographic innovation in its vast repertoire.

****1

An alternative Royal Ballet cast of Pierrot Lunaire proves compelling

Deborah Weiss, 11th February

Another cast debuts in Glen Tetley's Pierrot Lunaire and shows us that, more than 60 years on, it's every bit as watchable as when it premiered.

****1

Weitere Kritiken...

Daniel Pratt

Daniel Pratt trained in London, England, attending the Royal Ballet School Associates program before completing his vocational training at Central School of Ballet where he gained a BA (hons) in Professional Dance and Performance. Daniel joined The Sarasota Ballet in 2012, dancing a broad range of works including ballets by Ashton, Balanchine, MacMillan, and modern works by Taylor, Graham and Tharp. Daniel has also performed with Northern Ballet and English National Ballet. Daniel’s writing on dance has appeared in The Dancing Times and Tanz Magazine. Daniel currently serves on the board of the American Guild of Musical Artists.