a new play by Suzie Miller

Oscar-nominated Rosamund Pike (Gone Girl, Saltburn) is Jessica in the much-anticipated next play from the team behind Prima Facie.

Jessica Parks is a smart Crown Court Judge at the top of her career. Behind the robe, she is a karaoke fiend, a loving wife and a supportive parent. When an event threatens to throw her life completely off balance, can she hold her family upright?

Writer Suzie Miller and director Justin Martin reunite following their global phenomenon Prima Facie, with this searing examination of modern motherhood and masculinity.

In war-torn Rome, Floria Tosca and Mario Cavaradossi live for each other and for their art. But when Cavaradossi helps an escaped prisoner, the lovers make a deadly enemy in the form of Baron Scarpia, Chief of Police. At the mercy of Scarpia’s twisted desires, Tosca is forced to make a horrific bargain: sleeping with the man she hates in order to save the man she loves. Can she find a way out?

A star-studded cast includes soprano Anna Netrebko performing the role of Tosca, tenor Freddie De Tommaso as Cavaradossi, and bass-baritone Gerald Finley as Scarpia, with Music Director of The Royal Opera Jakub Hrůša conducting his first new production in the role. An alternative, modern-day Rome provides the backdrop for Oliver Mears’ unmissable, gripping new production of Puccini’s thriller.

Following triumphant Met turns in Roméo et Juliette, La Traviata, and Lucia di Lammermoor, Nadine Sierra summits another peak of the soprano repertoire as Amina, who sleepwalks her way into audiences’ hearts in Bellini’s poignant tale of love lost and found. In his new production, Rolando Villazón—the tenor who has embarked on a brilliant second career as a director—retains the opera’s original setting in the Swiss Alps but uses its somnambulant plot to explore the emotional and psychological valleys of the mind.

Tenor Xabier Anduaga returns after his acclaimed 2023 Met debut in L’Elisir d’Amore, co-starring as Amina’s fiancé Elvino, alongside soprano Sydney Mancasola as her rival, Lisa, and bass Alexander Vinogradov as Count Rodolfo. Riccardo Frizza takes the podium for one of opera’s most ravishing works.

Lise, the only daughter of Widow Simone, is in love with the young farmer Colas, but her mother has far more ambitious plans for her. Simone hopes to marry her off to Alain, the son of the wealthy proprietor Thomas. Desperate to marry Colas rather than Alain, Lise contrives to outwit her mother’s plans.  

65 years after its premiere, The Royal Ballet presents Frederick Ashton’s La Fille mal gardée. This affectionate portrayal of village life combines exuberant good humour and brilliantly inventive choreography in what is undoubtedly Ashton’s love letter to the English countryside. La Fille mal gardée whisks us away into pastoral bliss with Ferdinand Hérold’s cheerful score and Osbert Lancaster’s colourful designs.

The magician Herr Drosselmeyer needs to save his nephew. Hans-Peter has been transformed into a Nutcracker; the only way to save him is for the Nutcracker to defeat the Mouse King and find a girl to love and care for him. A flicker of hope comes in the form of the young Clara, whom Drosselmeyer meets at a Christmas party. With some magic, a cosy Christmas gathering turns into a marvellous adventure.

Peter Wright’s The Nutcracker has enchanted audiences since its 1984 premiere by the Company. Featuring Tchaikovsky’s most familiar melodies and brought to life by Julia Trevelyan Oman’s exquisite designs, The Nutcracker is sure to be a festive firecracker for all ages.

At one of her lavish parties, celebrated Parisan courtesan Violetta is introduced to Alfredo Germont. The two fall madly in love, and though hesitant to leave behind her life of luxury and freedom, Violetta follows her heart. But the young couple’s happiness is short-lived, as the harsh realities of life soon come knocking.

As intimate as it is sumptuous, La traviata features some of opera’s most famous melodies, and is a star vehicle for its leading soprano role sung by Ermonela Jaho. In director Richard Eyre’s world of seductive grandeur, the tender and devastating beauty at the centre of Verdi’s opera shines bright.