Rachel Halliburton

Articles By Rachel Halliburton

Prom 61, Cabell, Chineke! Voices and Orchestra, Edusei review - a thrilling, fiercely rational Beethoven 9 Saturday, 03 September 2022 Read more...	I, Joan, Shakespeare's Globe review - a non-binary retelling that's as ebullient as it's irreverent Friday, 02 September 2022 Read more...
The Lion, the Witch and the Wardrobe, Gillian Lynne Theatre review - the puppetry is all part of the magic Friday, 29 July 2022 Read more...	Prom 9, Finch, BBC National Orchestra of Wales, Matiakh review - thrilling, conceptually fascinating evening Friday, 22 July 2022 Read more...
Prom 7, Dido and Aeneas, La Nuova Musica review - bold and original from the start Wednesday, 20 July 2022 Read more...	Patriots, Almeida Theatre review - a brilliant drama from Peter Morgan about rampant Russian power games Wednesday, 13 July 2022 Read more...
The Making of Pinocchio, LIFT 2022, Battersea Arts Centre review - witty, ingenious exploration of gender transition Saturday, 02 July 2022 Read more...	King Lear, Shakespeare's Globe review - eviscerates emotionally while illuminating a society rotten with lies Monday, 20 June 2022 Read more...
The Wedding, Gecko Theatre, Barbican review - eccentric, ebullient exploration of our contract with society Friday, 10 June 2022 Read more...	Henry VIII, Shakespeare's Globe review - unashamedly vulgar take on our last split with Europe Friday, 27 May 2022 Read more...
The House of Shades, Almeida Theatre review - Anne-Marie Duff blazes in Beth Steel's excoriating new drama Wednesday, 18 May 2022 Read more...	The Breach, Hampstead Theatre review - profoundly uncomfortable work that burns like ice Monday, 16 May 2022 Read more...
Much Ado About Nothing, Shakespeare's Globe review – a perfect piece of escapism for our uncertain summer Tuesday, 03 May 2022 Read more...	Punchdrunk's The Burnt City, One Cartridge Place review - thrilling, discombobulating vision of an ancient world Wednesday, 27 April 2022 Read more...
Scandaltown, Lyric Hammersmith review - Restoration-comedy-style take on 21st Century shamelessness Monday, 18 April 2022 Read more...	Persuasion, Alexandra Palace Theatre review - graphic-novel-style Austen Thursday, 14 April 2022 Read more...

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It followed some...

Saul, Glyndebourne review - playful, visually ravishing desc...

This thrilling production of Saul takes Handel’s dramatisation of the Bible’s first Book of Samuel and paints it in...

Album: Marina - Princess of Power

Marina Diamandis is a proper pop star, brilliantly full-on...

The Gold, Series 2, BBC One review - back on the trail of th...

The first series of The Gold in 2023 was received rapturously, though apparently it only told one half of the story of the 1983 Brink’s-...

Eva Quartet, St Cyprian's review - polyphonic bliss

Eva Quartet are four outstanding Bulgarian voices of polyphonic purity and depth, drawn from the legendary choir Le Mystere des Voix Bulgares, who...

Album: Mary Chapin Carpenter - Personal History

In those seemingly long-ago times of loneliness and lockdown, artists around the world invited us into their kitchens and living rooms as they...

Miss Myrtle’s Garden, Bush Theatre review - flowering talent...

The Bush Theatre is becoming a garden...

Così fan tutte, Nevill Holt Festival/Opera North review - re...

Marianne Moore once famously defined poems as “imaginary gardens with real toads in them”. Operas also fill, or anyway should fill, their...

Music Reissues Weekly: Gather In The Mushrooms

“Forest and the Shore” by Keith Christmas is remarkable. In his essay for Gather In The Mushrooms, compiler, author and Saint Etienne...

Big Star: The Nick Skelton Story review - the ways of a man...

If you’re horse mad or merely an every-four-years Olympic fan, you already know Nick Skelton’s story. Equestrianism can favour mature competitors...