Plot unknown

Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again. Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw). As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake. Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine. From returning visionary writer-director Scott Derrickson, Black Phone 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Joe Hill, Adam Hendricks and Ryan Turek. *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

Two conspiracy obsessed young men kidnap the high-powered CEO of a major company, convinced that she is an alien intent on destroying planet Earth. *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

For the first time, Chainsaw Man slashes his way onto the big screen in an epic, action-fueled adventure that continues the hugely popular anime series. Denji worked as a Devil Hunter for the yakuza, trying to pay off the debt he inherited from his parents, until the yakuza betrayed him and had him killed. As he was losing consciousness, Denji’s beloved chainsaw-powered devil-dog, Pochita, made a deal with Denji and saved his life. This fused the two together, creating the unstoppable Chainsaw Man. Now, in a brutal war between devils, hunters, and secret enemies, a mysterious girl named Reze has stepped into his world, and Denji faces his deadliest battle yet, fueled by love in a world where survival knows no rules. *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

For the first time, Chainsaw Man slashes his way onto the big screen in an epic, action-fueled adventure that continues the hugely popular anime series. Denji worked as a Devil Hunter for the yakuza, trying to pay off the debt he inherited from his parents, until the yakuza betrayed him and had him killed. As he was losing consciousness, Denji’s beloved chainsaw-powered devil-dog, Pochita, made a deal with Denji and saved his life. This fused the two together, creating the unstoppable Chainsaw Man. Now, in a brutal war between devils, hunters, and secret enemies, a mysterious girl named Reze has stepped into his world, and Denji faces his deadliest battle yet, fueled by love in a world where survival knows no rules. *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

Tells the story of Christy Martin, the most successful female boxer of the 90s. *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

In GOOD FORTUNE, a well-meaning but rather inept angel named Gabriel (Keanu Reeves) meddles in the lives of a struggling gig worker (Aziz Ansari) and a wealthy venture capitalist (Seth Rogen). *Any guest under the age of 17 must be accompanied by a parent/guardian (age 21 or older) to enter the theater for this movie. ID required for entry*

Plot unknown

Charts the turbulent relationship between composer Franklin Shepard and his two lifelong friends - writer Mary and lyricist and playwright Charley over three decades. Originally produced on Broadway in 1981.

Plot unknown

Plot unknown

When a crew of animal bandits embark on a routine swindle, they find themselves in the middle of a high-tech, professional train heist. It’s up to Falcon, a petty thief and high-flying raccoon and Rex, a righteous police-dog, to save the animals stuck on this high-speed runway train.

20th Century Studios’ “Predator: Badlands,” directed by Dan Trachtenberg (“Prey”), opens exclusively in theaters November 7, 2025. The newest entry in the “Predator” franchise is set in the future on a remote planet, where a young Predator, outcast from his clan, finds an unlikely ally in Thia (Elle Fanning) and embarks on a treacherous journey in search of the ultimate adversary.

20th Century Studios’ “Predator: Badlands,” directed by Dan Trachtenberg (“Prey”), opens exclusively in theaters November 7, 2025. The newest entry in the “Predator” franchise is set in the future on a remote planet, where a young Predator, outcast from his clan, finds an unlikely ally in Thia (Elle Fanning) and embarks on a treacherous journey in search of the ultimate adversary in 3D format!

Based on the bestselling book, REGRETTING YOU introduces audiences to Morgan Grant (Allison Williams) and her daughter Clara (Mckenna Grace) as they explore what’s left behind after a devastating accident reveals a shocking betrayal and forces them to confront family secrets, redefine love, and rediscover each other. REGRETTING YOU is a story of growth, resilience, and self-discovery in the aftermath of tragedy, also starring Dave Franco and Mason Thames with Scott Eastwood and Willa Fitzgerald, in theatres this October.

Rocky Balboa proudly holds the world heavyweight boxing championship, but a new challenger has stepped forward: Drago, a six-foot-four, 261-pound fighter who has the backing of the Soviet Union.

Directed by Sean McNamara (SOUL SURFER, REAGAN), written by Gregory Poirier and based on O’Leary’s bestselling memoir, On Fire, this film is an emotional and faith-filled portrait of resilience as O'Leary not only battles to survive but ultimately discovers what it means to truly live. From frontline workers to family members, and the support of the wider community, this film is a celebration of heroes.

From 20th Century Studios, “Springsteen: Deliver Me from Nowhere” chronicles the making of Bruce Springsteen’s 1982 “Nebraska” album. Recorded on a 4-track recorder in Springsteen’s New Jersey bedroom, the album marked a pivotal time in his life and is considered one of his most enduring works—a raw, haunted acoustic record populated by lost souls searching for a reason to believe.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

ACT I Isolde, an Irish princess, is being taken to Cornwall aboard the ship of Tristan, whose uncle, King Marke, plans to marry her. She becomes enraged by a sailor’s song about an Irish girl, and her maid, Brangäne, tries to calm her. Isolde interrogates Tristan, but he replies evasively. His companion Kurwenal loudly ridicules the Irish women and sings a mocking verse about Morold, Isolde’s fiancé, who was killed by Tristan when he came to Cornwall to exact tribute for Ireland. Isolde, barely able to control her anger, tells Brangäne how the wounded Tristan came to her in disguise after his fight with Morold so that he could be healed by Isolde’s knowledge of herbs and magic, which she learned from her mother. Isolde explains to Brangäne that she recognized Tristan, but her determination to take revenge for Morold’s death dissolved when he pleadingly looked her in the eyes. She now bitterly regrets her reluctance to kill him and wishes death for him and herself. Brangäne reminds her that to marry a king is no dishonor and that Tristan is simply performing his duty. Isolde maintains that his behavior shows his lack of love for her, and asks Brangäne to prepare her mother’s death potion. Kurwenal tells the women to prepare to leave the ship, as shouts from the deck announce the sighting of land. Isolde insists that she will not accompany Tristan until he apologizes for his offenses. He appears and greets her with cool courtesy. When she tells him she wants satisfaction for Morold’s death, Tristan offers her his sword, but she will not kill him. Instead, Isolde suggests that she and Tristan make peace with a drink of friendship. He understands that she means to poison them both, but still drinks, and she does the same. Expecting death, they exchange a long look of love, then fall into each other’s arms. Brangäne admits that she has in fact mixed a love potion, as sailors’ voices announce the ship’s arrival in Cornwall. ACT II In the garden of Marke’s castle, Isolde waits impatiently for a rendezvous with Tristan, while distant horns signal the king’s departure on a hunting party. Isolde believes that the party is far off, but Brangäne warns her about spies, particularly Melot, a jealous knight whom she has noticed watching Tristan. Isolde replies that Melot is Tristan’s friend. She sends Brangäne off to stand watch and puts out the warning torch. When Tristan appears, she welcomes him passionately. They praise the darkness that shuts out the light of conventionality and false appearances and agree that they feel secure in the night’s embrace. Brangäne’s distant voice warns that it will be daylight soon, but the lovers are oblivious to any danger and compare the night to death, which will ultimately unite them. Kurwenal rushes in with a warning: the king and his followers have returned, led by Melot, who denounces the lovers. Moved and disturbed, Marke declares that it was Tristan himself who urged him to marry and choose the bride. He does not understand how someone so dear to him could dishonor him in such a way. Tristan cannot answer. He asks Isolde if she will follow him into the realm of death. When she accepts, Melot attacks Tristan, who falls wounded into Kurwenal’s arms. ACT III Back at his castle, the mortally ill Tristan is tended by Kurwenal. A shepherd inquires about his master, and Kurwenal explains that only Isolde, with her magic arts, could save him. The shepherd agrees to play a cheerful tune on his pipe as soon as he sees a ship approaching. Hallucinating, Tristan imagines the realm of night where he will return with Isolde. He thanks Kurwenal for his devotion, then envisions Isolde’s ship approaching, but the shepherd’s mournful tune signals that the sea is still empty. Tristan recalls the melody, which he heard as a child. It reminds him of the duel with Morold, and he wishes Isolde’s medicine had killed him then instead of making him suffer now. The shepherd’s tune finally turns cheerful. Tristan gets up from his sickbed in growing agitation and tears off his bandages, letting his wounds bleed. Isolde rushes in, and he falls, dying, in her arms. When the shepherd announces the arrival of another ship, Kurwenal assumes it carries Marke and Melot, and barricades the gate. Brangäne’s voice is heard from outside, trying to calm Kurwenal, but he will not listen and stabs Melot before he is killed himself by the king’s soldiers. Marke is overwhelmed with grief at the sight of the dead Tristan, while Brangäne explains to Isolde that the king has come to pardon the lovers. Isolde, transfigured, does not hear her, and with a vision of Tristan beckoning her to the world beyond, she sinks dying upon his body.

American composer Gabriela Lena Frank makes her Met debut with her first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Yannick Nézet-Séguin conducts the Met premiere of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker, following her remarkable 2024 debut staging of Ainadamar.

ACT I Spring, 1789, at the Château de Coigny near Paris. Gérard, servant to the Countess de Coigny, mocks the aristocracy and their manners. Observing his father struggle with a piece of furniture, Gérard laments the suffering of all servants under their arrogant masters (“Son sessant’anni”). Maddalena, the Countess’s daughter, appears and Gérard realizes how much he loves her. Busy with preparations for a soirée that evening, the Countess scolds Maddalena for not yet being dressed. Maddalena complains to her servant, Bersi, about the discomfort of the current fashions and then runs out to change. Among the guests to arrive is Fléville, a novelist, who has brought with him the rising poet Andrea Chénier. After the Abbé relates the latest depressing news from Paris, Fléville enlivens the party with a pastorale he has written for the occasion. Maddalena then teases a reluctant Chénier into improvising a poem (“Un dì all’azzurro spazio”). Chénier scandalizes the guests with his criticism of the indifference of the clergy and the aristocracy to the suffering of the impoverished. The guests’ gavotte is interrupted by Gérard, who brings in a group of starving peasants. The Countess orders Gérard out along with the rabble. The guests are then invited to return to the gavotte, but they depart instead, and the Countess is left alone. ACT II Spring, 1794, along the Cours-la-Reine in Paris. The Revolution has begun, and the Reign of Terror is in full force. To fend off the Incredibile, a spy, Bersi pretends to be a daughter of the Revolution (“Temer? Perchè?”). The Incredibile is not deceived and notices that Chénier is waiting for someone in the Café Hottot. Chénier is joined by his friend Roucher, who has brought a passport so that Chénier may leave the country safely. Chénier says his destiny is to remain to find the love he has never had and to discover who has been writing him anonymous letters (“Credo a una possanza arcana”). A procession of dignitaries led by Gérard interrupts their conversation. The Incredibile takes Gérard aside to ask about the woman he is looking for. Gérard describes Maddalena to him. Meanwhile, Bersi asks Chénier to wait at the café for someone who wants to meet him. Maddalena appears and reveals to Chénier that it was she who wrote the letters. They pledge to love each other until death (“Ora soave”). The Incredibile, having seen Chénier and Maddalena together, brings Gérard to the scene. Gérard is wounded as Chénier defends Maddalena. Gérard, however, recognizes Chénier and sends him away, asking him to protect Maddalena. When the gathering crowd asks who wounded Gérard, he answers that his assailant was unknown. ACT III July 24, 1794, in the courtroom of the Revolutionary Tribunal. Mathieu, a revolutionary, is unsuccessfully urging the crowd to donate to the cause. Gérard, recovered from his wound, makes an impassioned plea for the motherland. Madelon, an old woman who has already lost her son and a grandson in the war, offers her last grandson as a soldier (“Son la vecchia Madelon”). As the crowd disperses, the Incredibile appears. If Gérard wants to have Maddalena, the Incredibile insists, he must first arrest her lover, Chénier. As Gérard writes the accusation, he is filled with remorse at the bloodshed he has caused in his rise to power. He concedes that his new master is passion (“Nemico della patria”). No sooner does he hand Chénier’s indictment to the court clerk than Maddalena appears. Gérard admits that he has laid a trap for her and that he loves her. Maddalena offers herself to Gérard if he will save Chénier. She has been a fugitive, her mother was killed in the Revolution and their home was burned (“La mamma morta”). Touched by her love for Chénier, Gérard promises to try to save him. The Tribunal convenes with an unruly mob in attendance. Chénier pleads for his life (“Sì, fui soldato”) and Gérard admits to the judges that the accusation he wrote was false. Nevertheless, Chénier is sentenced to death and taken away. ACT IV July 25, 1794, in the ruins of Paris’ St. Lazare prison. Chénier reads a final poem (“Come un bel dì di maggio”) to his friend Roucher, who then bids him a final farewell. Gérard and Maddalena are met by the jailer, Schmidt, whom Maddalena bribes with some jewels to allow her to take the place of another young woman sentenced to death. Gérard leaves to once again plead Chénier’s case with Robespierre. Maddalena tells Chénier she is there to die with him. As the day dawns, they share one final moment together (“Vicino a te”) before being taken to the guillotine.

ACT I Spring, 1789, at the Château de Coigny near Paris. Gérard, servant to the Countess de Coigny, mocks the aristocracy and their manners. Observing his father struggle with a piece of furniture, Gérard laments the suffering of all servants under their arrogant masters (“Son sessant’anni”). Maddalena, the Countess’s daughter, appears and Gérard realizes how much he loves her. Busy with preparations for a soirée that evening, the Countess scolds Maddalena for not yet being dressed. Maddalena complains to her servant, Bersi, about the discomfort of the current fashions and then runs out to change. Among the guests to arrive is Fléville, a novelist, who has brought with him the rising poet Andrea Chénier. After the Abbé relates the latest depressing news from Paris, Fléville enlivens the party with a pastorale he has written for the occasion. Maddalena then teases a reluctant Chénier into improvising a poem (“Un dì all’azzurro spazio”). Chénier scandalizes the guests with his criticism of the indifference of the clergy and the aristocracy to the suffering of the impoverished. The guests’ gavotte is interrupted by Gérard, who brings in a group of starving peasants. The Countess orders Gérard out along with the rabble. The guests are then invited to return to the gavotte, but they depart instead, and the Countess is left alone. ACT II Spring, 1794, along the Cours-la-Reine in Paris. The Revolution has begun, and the Reign of Terror is in full force. To fend off the Incredibile, a spy, Bersi pretends to be a daughter of the Revolution (“Temer? Perchè?”). The Incredibile is not deceived and notices that Chénier is waiting for someone in the Café Hottot. Chénier is joined by his friend Roucher, who has brought a passport so that Chénier may leave the country safely. Chénier says his destiny is to remain to find the love he has never had and to discover who has been writing him anonymous letters (“Credo a una possanza arcana”). A procession of dignitaries led by Gérard interrupts their conversation. The Incredibile takes Gérard aside to ask about the woman he is looking for. Gérard describes Maddalena to him. Meanwhile, Bersi asks Chénier to wait at the café for someone who wants to meet him. Maddalena appears and reveals to Chénier that it was she who wrote the letters. They pledge to love each other until death (“Ora soave”). The Incredibile, having seen Chénier and Maddalena together, brings Gérard to the scene. Gérard is wounded as Chénier defends Maddalena. Gérard, however, recognizes Chénier and sends him away, asking him to protect Maddalena. When the gathering crowd asks who wounded Gérard, he answers that his assailant was unknown. ACT III July 24, 1794, in the courtroom of the Revolutionary Tribunal. Mathieu, a revolutionary, is unsuccessfully urging the crowd to donate to the cause. Gérard, recovered from his wound, makes an impassioned plea for the motherland. Madelon, an old woman who has already lost her son and a grandson in the war, offers her last grandson as a soldier (“Son la vecchia Madelon”). As the crowd disperses, the Incredibile appears. If Gérard wants to have Maddalena, the Incredibile insists, he must first arrest her lover, Chénier. As Gérard writes the accusation, he is filled with remorse at the bloodshed he has caused in his rise to power. He concedes that his new master is passion (“Nemico della patria”). No sooner does he hand Chénier’s indictment to the court clerk than Maddalena appears. Gérard admits that he has laid a trap for her and that he loves her. Maddalena offers herself to Gérard if he will save Chénier. She has been a fugitive, her mother was killed in the Revolution and their home was burned (“La mamma morta”). Touched by her love for Chénier, Gérard promises to try to save him. The Tribunal convenes with an unruly mob in attendance. Chénier pleads for his life (“Sì, fui soldato”) and Gérard admits to the judges that the accusation he wrote was false. Nevertheless, Chénier is sentenced to death and taken away. ACT IV July 25, 1794, in the ruins of Paris’ St. Lazare prison. Chénier reads a final poem (“Come un bel dì di maggio”) to his friend Roucher, who then bids him a final farewell. Gérard and Maddalena are met by the jailer, Schmidt, whom Maddalena bribes with some jewels to allow her to take the place of another young woman sentenced to death. Gérard leaves to once again plead Chénier’s case with Robespierre. Maddalena tells Chénier she is there to die with him. As the day dawns, they share one final moment together (“Vicino a te”) before being taken to the guillotine.

ACT I Vienna, 1860. In the Waldners’ hotel suite, Countess Adelaide von Waldner consults a fortuneteller about the family’s financial crisis. The cards predict a rich marriage for their beautiful daughter Arabella, which would get the family out of debt, but the fortuneteller sees danger from a second daughter. Adelaide admits that their “son,” “Zdenko,” who has been warding off creditors at the door, is in fact a girl, Zdenka, who has been brought up as a boy to save the family the ruinous expense of introducing two daughters into society. Adelaide and the fortuneteller leave and Zdenka, alone, laments the family’s situation. She fears they will have to leave Vienna and she will never see Matteo again, a young lieutenant and one of her sister’s suitors whom Zdenka has fallen in love with. To keep him happy, she has been writing him love letters in Arabella’s hand. Suddenly Matteo appears and asks his best friend, “Zdenko,” to help him win Arabella—otherwise he will shoot himself. Then he rushes off, leaving Zdenka desperate. Arabella returns from a walk to find presents from her three other suitors, Counts Elemer, Dominik, and Lamoral. Although Zdenka loves Matteo, she begs her sister to favor him so he will not be heartbroken. Arabella replies that the right man for her hasn’t appeared yet—she knows that once he does, she’ll recognize him. Elemer arrives to invite Arabella for a sleigh ride. Before she goes off to change, she notices a stranger outside the window whom she had seen earlier that morning. The two girls leave as Count Waldner enters and tells his wife that as a last resort he sent a photograph of Arabella to a rich old friend and fellow officer, Mandryka, hoping he would marry her. A few moments later Mandryka himself is announced—in fact, not the old Croatian friend, who has died, but his nephew and heir. The younger Mandryka has fallen in love with Arabella’s portrait and sold one of his forests in Slavonia to come to Vienna and ask for her hand. He lends the stunned Waldner some money, then leaves with the promise of an introduction later in the day. Waldner sets off to gamble with his newfound wealth. Matteo returns and Zdenka promises him she will have another letter from her sister that evening at the Coachmen’s Ball. Arabella, alone, reflects on the decision she has to make, her thoughts turning to the stranger she saw in the street. When Zdenka returns, the sisters go off to their sleigh ride. ACT II In the foyer of the ballroom, Waldner introduces Arabella to Mandryka, who turns out to be her fascinating stranger. Their meeting begins awkwardly as Mandryka, not used to Viennese society, feels he doesn’t find the right words, but Arabella is instantly attracted by his honest and straightforward manner—it is love at first sight. Mandryka tells of his young wife who died, of his lands, and the Slavonian custom of a girl pledging her engagement by presenting her future husband with a glass of water. Arabella returns his declaration of love but asks for one last evening to bid farewell to her girlhood. The coachmen’s mascot, the Fiakermilli, enters accompanied by her admirers and names Arabella queen of the ball. Mandryka orders champagne for everyone and steps aside as Arabella bids goodbye to Dominik, Elemer, and Lamoral. Meanwhile Matteo pleads desperately with Zdenka for some sign of Arabella’s professed love. Zdenka presses a key into his hands, telling him it opens the door next to Arabella’s bedroom, and that Arabella will meet him there later this evening. Mandryka, who has overheard the conversation, is appalled. Furious, he orders more champagne, drinks recklessly, and flirts with the Fiakermilli. Waldner appears, demanding to know what’s going on, and Adelaide explains that Arabella has gone home. Assuming there must be some sort of misunderstanding, Waldner convinces Mandryka to return with him to the hotel at once. ACT III Arabella enters the hotel lobby, dreamily thinking about her future life. Matteo, who has just spent some time in a dark room with someone he thought was Arabella, is amazed to find her there and can’t make sense of her cool cordiality. Mandryka arrives with the Waldners. Recognizing Matteo as the person who was given the key, he is convinced of Arabella’s betrayal despite her protestations of innocence. His behavior leads Waldner to demand satisfaction. Suddenly Zdenka comes running down the stairs in a nightgown. Overcome with shame, she confesses she gave herself to Matteo to avert a worse disaster. While her shocked parents forgive her, Matteo happily realizes that something didn’t add up from the beginning and that he is in love with Zdenka. Mandryka, though mortally ashamed, quickly takes charge of the situation and asks Waldner for Zdenka’s hand on Matteo’s behalf. As the others retire to their quarters, Arabella asks Mandryka to have his servant bring a glass of water to her room. Left alone and unable to forgive himself for his lack of trust in Arabella, Mandryka despondently wonders how she feels about him now that she left without even saying goodnight. As he is about to leave, Arabella appears at the top of the stairs, water glass in hand. She forgives Mandryka, and they renew their promise of love.

ACT I Vienna, 1860. In the Waldners’ hotel suite, Countess Adelaide von Waldner consults a fortuneteller about the family’s financial crisis. The cards predict a rich marriage for their beautiful daughter Arabella, which would get the family out of debt, but the fortuneteller sees danger from a second daughter. Adelaide admits that their “son,” “Zdenko,” who has been warding off creditors at the door, is in fact a girl, Zdenka, who has been brought up as a boy to save the family the ruinous expense of introducing two daughters into society. Adelaide and the fortuneteller leave and Zdenka, alone, laments the family’s situation. She fears they will have to leave Vienna and she will never see Matteo again, a young lieutenant and one of her sister’s suitors whom Zdenka has fallen in love with. To keep him happy, she has been writing him love letters in Arabella’s hand. Suddenly Matteo appears and asks his best friend, “Zdenko,” to help him win Arabella—otherwise he will shoot himself. Then he rushes off, leaving Zdenka desperate. Arabella returns from a walk to find presents from her three other suitors, Counts Elemer, Dominik, and Lamoral. Although Zdenka loves Matteo, she begs her sister to favor him so he will not be heartbroken. Arabella replies that the right man for her hasn’t appeared yet—she knows that once he does, she’ll recognize him. Elemer arrives to invite Arabella for a sleigh ride. Before she goes off to change, she notices a stranger outside the window whom she had seen earlier that morning. The two girls leave as Count Waldner enters and tells his wife that as a last resort he sent a photograph of Arabella to a rich old friend and fellow officer, Mandryka, hoping he would marry her. A few moments later Mandryka himself is announced—in fact, not the old Croatian friend, who has died, but his nephew and heir. The younger Mandryka has fallen in love with Arabella’s portrait and sold one of his forests in Slavonia to come to Vienna and ask for her hand. He lends the stunned Waldner some money, then leaves with the promise of an introduction later in the day. Waldner sets off to gamble with his newfound wealth. Matteo returns and Zdenka promises him she will have another letter from her sister that evening at the Coachmen’s Ball. Arabella, alone, reflects on the decision she has to make, her thoughts turning to the stranger she saw in the street. When Zdenka returns, the sisters go off to their sleigh ride. ACT II In the foyer of the ballroom, Waldner introduces Arabella to Mandryka, who turns out to be her fascinating stranger. Their meeting begins awkwardly as Mandryka, not used to Viennese society, feels he doesn’t find the right words, but Arabella is instantly attracted by his honest and straightforward manner—it is love at first sight. Mandryka tells of his young wife who died, of his lands, and the Slavonian custom of a girl pledging her engagement by presenting her future husband with a glass of water. Arabella returns his declaration of love but asks for one last evening to bid farewell to her girlhood. The coachmen’s mascot, the Fiakermilli, enters accompanied by her admirers and names Arabella queen of the ball. Mandryka orders champagne for everyone and steps aside as Arabella bids goodbye to Dominik, Elemer, and Lamoral. Meanwhile Matteo pleads desperately with Zdenka for some sign of Arabella’s professed love. Zdenka presses a key into his hands, telling him it opens the door next to Arabella’s bedroom, and that Arabella will meet him there later this evening. Mandryka, who has overheard the conversation, is appalled. Furious, he orders more champagne, drinks recklessly, and flirts with the Fiakermilli. Waldner appears, demanding to know what’s going on, and Adelaide explains that Arabella has gone home. Assuming there must be some sort of misunderstanding, Waldner convinces Mandryka to return with him to the hotel at once. ACT III Arabella enters the hotel lobby, dreamily thinking about her future life. Matteo, who has just spent some time in a dark room with someone he thought was Arabella, is amazed to find her there and can’t make sense of her cool cordiality. Mandryka arrives with the Waldners. Recognizing Matteo as the person who was given the key, he is convinced of Arabella’s betrayal despite her protestations of innocence. His behavior leads Waldner to demand satisfaction. Suddenly Zdenka comes running down the stairs in a nightgown. Overcome with shame, she confesses she gave herself to Matteo to avert a worse disaster. While her shocked parents forgive her, Matteo happily realizes that something didn’t add up from the beginning and that he is in love with Zdenka. Mandryka, though mortally ashamed, quickly takes charge of the situation and asks Waldner for Zdenka’s hand on Matteo’s behalf. As the others retire to their quarters, Arabella asks Mandryka to have his servant bring a glass of water to her room. Left alone and unable to forgive himself for his lack of trust in Arabella, Mandryka despondently wonders how she feels about him now that she left without even saying goodnight. As he is about to leave, Arabella appears at the top of the stairs, water glass in hand. She forgives Mandryka, and they renew their promise of love.

Plot unknown

ACT I Russia, 19th century. Autumn in the country. On the Larin estate. Madame Larina reflects upon the days before she married, when she was courted by her husband but loved another. She is now a widow with two daughters: Tatiana and Olga. While Tatiana spends her time reading novels, with whose heroines she closely identifies, Olga is being courted by their neighbor, the poet Lenski. He arrives unexpectedly, bringing with him a new visitor, Eugene Onegin, with whom Tatiana falls in love. Tatiana asks her nurse Filippyevna to tell her of her first love and marriage. Tatiana stays up all night writing a passionate letter to Onegin and persuades Filippyevna to have her grandson deliver it in the morning. Tatiana waits for Onegin’s response in the garden. He admits that he was touched by her declaration but explains that he cannot accept it and can only offer her friendship. He advises her to control her emotions, lest another man take advantage of her innocence. ACT II January. The local community has been invited to the Larin estate to celebrate Tatiana’s name day. Onegin has reluctantly agreed to accompany Lenski to what he mistakenly believes will be an intimate family celebration. Annoyed to find himself trapped at an enormous party and bored by the occasion, Onegin takes his revenge on Lenski by flirting and dancing with Olga. Lenski’s jealousy is aroused to such a height that he challenges Onegin to a duel. The party breaks up. Before the duel, Lenski meditates upon his poetry, upon his love for Olga, and upon death. Lenski’s second finds Onegin’s late arrival and his choice of a second insulting. Although both Lenski and Onegin are full of remorse, neither stops the duel. Lenski is killed. ACT III St. Petersburg. Having travelled abroad for several years since the duel, Onegin has returned to the capital. At a ball, Prince Gremin introduces his young wife. Onegin is astonished to recognize her as Tatiana and to realize that he is in love with her. Onegin has sent a letter to Tatiana. He arrives at the Gremin palace and begs her to run away with him. Tatiana admits that she still loves him, but that she has made her decision and will not leave her husband. Onegin is left desperate. —Reprinted courtesy of English National Opera

ACT I England, around 1650. Plymouth, a Puritan stronghold, is threatened by siege from the Royalist troops. Distant voices herald the wedding day of Elvira, daughter of Gualtiero, the fortress’s commander. Riccardo enters lamenting that his promised bride, Elvira, loves another man—a Stuart partisan. Her father will not force her to marry against her will, it seems, so Riccardo’s friend Sir Bruno urges him to devote his life to leading the parliamentary forces. Elvira tells her uncle, Giorgio, that she would rather die than marry Riccardo. Her uncle reassures her that he has persuaded her father to let her marry her lover, Arturo. Although Arturo is a Royalist, he is heralded as he approaches the castle. Everyone gathers for the wedding celebration and Arturo greets his bride. He learns that King Charles’s widow, Queen Enrichetta, is a prisoner in the castle and soon to be taken to trial in London. Alone with the queen, Arturo offers to save her even if it means his death. Elvira returns with the bridal veil and capriciously places it over Enrichetta’s head. When he is alone again with the queen, Arturo explains that the veil will provide the perfect disguise for escape from the castle. As they are about to leave, Riccardo stops them, determined to kill his rival. Enrichetta separates them and reveals her identity. Riccardo lets them get away, knowing this will ruin Arturo. The others return for the wedding, and Riccardo tells of Arturo’s escape with Enrichetta. Soldiers rush off in pursuit. Elvira, believing herself betrayed, is overcome by madness. ACT II The townsfolk mourn Elvira’s mental breakdown. Giorgio explains that she continues to long for Arturo. Riccardo arrives to announce that Arturo has been condemned to death by Parliament. The Puritans depart. Elvira wanders in, reliving her happy past. In her madness, she mistakes Riccardo for Arturo and dreams of her wedding. When she leaves, Giorgio tries to convince Riccardo to save Arturo. At first indignant, Riccardo is finally moved to help Elvira, and the two men unite in patriotism: if Arturo returns as a friend, he shall live—if as an armed enemy, he shall die. ACT III In Elvira’s garden, Arturo reveals that love for her has brought him back to Plymouth. He overhears her sing their old love song and is torn between his affection and his loyalty to the Stuarts. Elvira herself appears and Arturo reassures her that she is his only love. Soldiers rush in to arrest Arturo. Just then, a diplomat arrives with the news of the Royalists’ final defeat and a general amnesty for all the offenders. The shock of this news restores Elvira’s senses, and all rejoice in the peace as Elvira and Arturo embrace their new happiness.

ACT I England, around 1650. Plymouth, a Puritan stronghold, is threatened by siege from the Royalist troops. Distant voices herald the wedding day of Elvira, daughter of Gualtiero, the fortress’s commander. Riccardo enters lamenting that his promised bride, Elvira, loves another man—a Stuart partisan. Her father will not force her to marry against her will, it seems, so Riccardo’s friend Sir Bruno urges him to devote his life to leading the parliamentary forces. Elvira tells her uncle, Giorgio, that she would rather die than marry Riccardo. Her uncle reassures her that he has persuaded her father to let her marry her lover, Arturo. Although Arturo is a Royalist, he is heralded as he approaches the castle. Everyone gathers for the wedding celebration and Arturo greets his bride. He learns that King Charles’s widow, Queen Enrichetta, is a prisoner in the castle and soon to be taken to trial in London. Alone with the queen, Arturo offers to save her even if it means his death. Elvira returns with the bridal veil and capriciously places it over Enrichetta’s head. When he is alone again with the queen, Arturo explains that the veil will provide the perfect disguise for escape from the castle. As they are about to leave, Riccardo stops them, determined to kill his rival. Enrichetta separates them and reveals her identity. Riccardo lets them get away, knowing this will ruin Arturo. The others return for the wedding, and Riccardo tells of Arturo’s escape with Enrichetta. Soldiers rush off in pursuit. Elvira, believing herself betrayed, is overcome by madness. ACT II The townsfolk mourn Elvira’s mental breakdown. Giorgio explains that she continues to long for Arturo. Riccardo arrives to announce that Arturo has been condemned to death by Parliament. The Puritans depart. Elvira wanders in, reliving her happy past. In her madness, she mistakes Riccardo for Arturo and dreams of her wedding. When she leaves, Giorgio tries to convince Riccardo to save Arturo. At first indignant, Riccardo is finally moved to help Elvira, and the two men unite in patriotism: if Arturo returns as a friend, he shall live—if as an armed enemy, he shall die. ACT III In Elvira’s garden, Arturo reveals that love for her has brought him back to Plymouth. He overhears her sing their old love song and is torn between his affection and his loyalty to the Stuarts. Elvira herself appears and Arturo reassures her that she is his only love. Soldiers rush in to arrest Arturo. Just then, a diplomat arrives with the news of the Royalists’ final defeat and a general amnesty for all the offenders. The shock of this news restores Elvira’s senses, and all rejoice in the peace as Elvira and Arturo embrace their new happiness.

ACT I Paris, in the 1830s. In their Latin Quarter garret, the near-destitute artist Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings food, fuel, and funds he has collected from an eccentric nobleman. While they celebrate their unexpected fortune, the landlord, Benoit, comes to collect the rent. After getting the older man drunk, the friends urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. As the others depart to revel at the Café Momus, Rodolfo remains behind to finish an article, promising to join them later. There is another knock at the door—the visitor is Mimì, a pretty neighbor, whose candle has gone out in the stairwell. As she enters the room, she suddenly feels faint. Rodolfo gives her a sip of wine, then helps her to the door and relights her candle. Mimì realizes that she lost her key when she fainted, and as the two search for it, both candles go out. Rodolfo finds the key and slips it into his pocket. In the moonlight, he takes Mimì’s hand and tells her about his dreams. She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Rodolfo’s friends call from outside, telling him to join them. He responds that he is not alone and will be along shortly. Happy to have found each other, Mimì and Rodolfo leave, arm in arm, for the café. ACT II Amid the shouts of street hawkers near the Café Momus, Rodolfo buys Mimì a bonnet and introduces her to his friends. They all sit down and order supper. The toy vendor Parpignol passes by, besieged by children. Marcello’s former sweetheart, Musetta, makes a noisy entrance on the arm of the elderly, but wealthy, Alcindoro. The ensuing tumult reaches its peak when, trying to gain Marcello’s attention, she loudly sings the praises of her own popularity. Sending Alcindoro away to buy her a new pair of shoes, Musetta finally falls into Marcello’s arms. Soldiers march by the café, and as the bohemians fall in behind, the returning Alcindoro is presented with the check. ACT III At dawn at the Barrière d’Enfer, a toll-gate on the edge of Paris, a customs official admits farm women to the city. Guests are heard drinking and singing within a tavern. Mimì arrives, searching for the place where Marcello and Musetta now live. When the painter appears, she tells him of her distress over Rodolfo’s incessant jealousy. She says she believes it is best that they part. As Rodolfo emerges from the tavern, Mimì hides nearby. Rodolfo tells Marcello that he wants to separate from Mimì, blaming her flirtatiousness. Pressed for the real reason, he breaks down, saying that her illness can only grow worse in the poverty they share. Overcome with emotion, Mimì comes forward to say goodbye to her lover. Marcello runs back into the tavern upon hearing Musetta’s laughter. While Mimì and Rodolfo recall past happiness, Marcello returns with Musetta, quarreling about her flirting with a customer. They hurl insults at each other and part, but Mimì and Rodolfo decide to remain together until springtime. ACT IV Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, reflect on their loneliness. Colline and Schaunard bring a meager meal. To lighten their spirits, the four stage a dance, which turns into a mock duel. At the height of the hilarity, Musetta bursts in with news that Mimì is outside, too weak to come upstairs. As Rodolfo runs to her aid, Musetta relates how Mimì begged to be taken to Rodolfo to die. She is made as comfortable as possible, while Musetta asks Marcello to sell her earrings for medicine and Colline goes off to pawn his overcoat. Left alone, Mimì and Rodolfo recall their meeting and their first happy days, but she is seized with violent coughing. When the others return, Musetta gives Mimì a muff to warm her hands, and Mimì slowly drifts into unconsciousness. Musetta prays for Mimì, but it is too late. The friends realize that she is dead, and Rodolfo collapses in despair.

ACT I Paris, in the 1830s. In their Latin Quarter garret, the near-destitute artist Marcello and poet Rodolfo try to keep warm on Christmas Eve by feeding the stove with pages from Rodolfo’s latest drama. They are soon joined by their roommates—Colline, a philosopher, and Schaunard, a musician, who brings food, fuel, and funds he has collected from an eccentric nobleman. While they celebrate their unexpected fortune, the landlord, Benoit, comes to collect the rent. After getting the older man drunk, the friends urge him to tell of his flirtations, then throw him out in mock indignation at his infidelity to his wife. As the others depart to revel at the Café Momus, Rodolfo remains behind to finish an article, promising to join them later. There is another knock at the door—the visitor is Mimì, a pretty neighbor, whose candle has gone out in the stairwell. As she enters the room, she suddenly feels faint. Rodolfo gives her a sip of wine, then helps her to the door and relights her candle. Mimì realizes that she lost her key when she fainted, and as the two search for it, both candles go out. Rodolfo finds the key and slips it into his pocket. In the moonlight, he takes Mimì’s hand and tells her about his dreams. She recounts her life alone in a lofty garret, embroidering flowers and waiting for the spring. Rodolfo’s friends call from outside, telling him to join them. He responds that he is not alone and will be along shortly. Happy to have found each other, Mimì and Rodolfo leave, arm in arm, for the café. ACT II Amid the shouts of street hawkers near the Café Momus, Rodolfo buys Mimì a bonnet and introduces her to his friends. They all sit down and order supper. The toy vendor Parpignol passes by, besieged by children. Marcello’s former sweetheart, Musetta, makes a noisy entrance on the arm of the elderly, but wealthy, Alcindoro. The ensuing tumult reaches its peak when, trying to gain Marcello’s attention, she loudly sings the praises of her own popularity. Sending Alcindoro away to buy her a new pair of shoes, Musetta finally falls into Marcello’s arms. Soldiers march by the café, and as the bohemians fall in behind, the returning Alcindoro is presented with the check. ACT III At dawn at the Barrière d’Enfer, a toll-gate on the edge of Paris, a customs official admits farm women to the city. Guests are heard drinking and singing within a tavern. Mimì arrives, searching for the place where Marcello and Musetta now live. When the painter appears, she tells him of her distress over Rodolfo’s incessant jealousy. She says she believes it is best that they part. As Rodolfo emerges from the tavern, Mimì hides nearby. Rodolfo tells Marcello that he wants to separate from Mimì, blaming her flirtatiousness. Pressed for the real reason, he breaks down, saying that her illness can only grow worse in the poverty they share. Overcome with emotion, Mimì comes forward to say goodbye to her lover. Marcello runs back into the tavern upon hearing Musetta’s laughter. While Mimì and Rodolfo recall past happiness, Marcello returns with Musetta, quarreling about her flirting with a customer. They hurl insults at each other and part, but Mimì and Rodolfo decide to remain together until springtime. ACT IV Months later in the garret, Rodolfo and Marcello, now separated from their girlfriends, reflect on their loneliness. Colline and Schaunard bring a meager meal. To lighten their spirits, the four stage a dance, which turns into a mock duel. At the height of the hilarity, Musetta bursts in with news that Mimì is outside, too weak to come upstairs. As Rodolfo runs to her aid, Musetta relates how Mimì begged to be taken to Rodolfo to die. She is made as comfortable as possible, while Musetta asks Marcello to sell her earrings for medicine and Colline goes off to pawn his overcoat. Left alone, Mimì and Rodolfo recall their meeting and their first happy days, but she is seized with violent coughing. When the others return, Musetta gives Mimì a muff to warm her hands, and Mimì slowly drifts into unconsciousness. Musetta prays for Mimì, but it is too late. The friends realize that she is dead, and Rodolfo collapses in despair.

Julie Taymor’s dazzling production returns to select cinemas this holiday season in an encore presentation of the company's first-ever Live in HD transmission. James Levine conducts a winning ensemble including Matthew Polenzani, Nathan Gunn, and René Pape in this abridged, English-language version of Mozart’s classic fable.

ACT I Isolde, an Irish princess, is being taken to Cornwall aboard the ship of Tristan, whose uncle, King Marke, plans to marry her. She becomes enraged by a sailor’s song about an Irish girl, and her maid, Brangäne, tries to calm her. Isolde interrogates Tristan, but he replies evasively. His companion Kurwenal loudly ridicules the Irish women and sings a mocking verse about Morold, Isolde’s fiancé, who was killed by Tristan when he came to Cornwall to exact tribute for Ireland. Isolde, barely able to control her anger, tells Brangäne how the wounded Tristan came to her in disguise after his fight with Morold so that he could be healed by Isolde’s knowledge of herbs and magic, which she learned from her mother. Isolde explains to Brangäne that she recognized Tristan, but her determination to take revenge for Morold’s death dissolved when he pleadingly looked her in the eyes. She now bitterly regrets her reluctance to kill him and wishes death for him and herself. Brangäne reminds her that to marry a king is no dishonor and that Tristan is simply performing his duty. Isolde maintains that his behavior shows his lack of love for her, and asks Brangäne to prepare her mother’s death potion. Kurwenal tells the women to prepare to leave the ship, as shouts from the deck announce the sighting of land. Isolde insists that she will not accompany Tristan until he apologizes for his offenses. He appears and greets her with cool courtesy. When she tells him she wants satisfaction for Morold’s death, Tristan offers her his sword, but she will not kill him. Instead, Isolde suggests that she and Tristan make peace with a drink of friendship. He understands that she means to poison them both, but still drinks, and she does the same. Expecting death, they exchange a long look of love, then fall into each other’s arms. Brangäne admits that she has in fact mixed a love potion, as sailors’ voices announce the ship’s arrival in Cornwall. ACT II In the garden of Marke’s castle, Isolde waits impatiently for a rendezvous with Tristan, while distant horns signal the king’s departure on a hunting party. Isolde believes that the party is far off, but Brangäne warns her about spies, particularly Melot, a jealous knight whom she has noticed watching Tristan. Isolde replies that Melot is Tristan’s friend. She sends Brangäne off to stand watch and puts out the warning torch. When Tristan appears, she welcomes him passionately. They praise the darkness that shuts out the light of conventionality and false appearances and agree that they feel secure in the night’s embrace. Brangäne’s distant voice warns that it will be daylight soon, but the lovers are oblivious to any danger and compare the night to death, which will ultimately unite them. Kurwenal rushes in with a warning: the king and his followers have returned, led by Melot, who denounces the lovers. Moved and disturbed, Marke declares that it was Tristan himself who urged him to marry and choose the bride. He does not understand how someone so dear to him could dishonor him in such a way. Tristan cannot answer. He asks Isolde if she will follow him into the realm of death. When she accepts, Melot attacks Tristan, who falls wounded into Kurwenal’s arms. ACT III Back at his castle, the mortally ill Tristan is tended by Kurwenal. A shepherd inquires about his master, and Kurwenal explains that only Isolde, with her magic arts, could save him. The shepherd agrees to play a cheerful tune on his pipe as soon as he sees a ship approaching. Hallucinating, Tristan imagines the realm of night where he will return with Isolde. He thanks Kurwenal for his devotion, then envisions Isolde’s ship approaching, but the shepherd’s mournful tune signals that the sea is still empty. Tristan recalls the melody, which he heard as a child. It reminds him of the duel with Morold, and he wishes Isolde’s medicine had killed him then instead of making him suffer now. The shepherd’s tune finally turns cheerful. Tristan gets up from his sickbed in growing agitation and tears off his bandages, letting his wounds bleed. Isolde rushes in, and he falls, dying, in her arms. When the shepherd announces the arrival of another ship, Kurwenal assumes it carries Marke and Melot, and barricades the gate. Brangäne’s voice is heard from outside, trying to calm Kurwenal, but he will not listen and stabs Melot before he is killed himself by the king’s soldiers. Marke is overwhelmed with grief at the sight of the dead Tristan, while Brangäne explains to Isolde that the king has come to pardon the lovers. Isolde, transfigured, does not hear her, and with a vision of Tristan beckoning her to the world beyond, she sinks dying upon his body.

Experience the quintessential Romantic ballet in Peter Wright’s atmospheric and bewitching production.

The Capulets and Montagues are sworn enemies. Yet it is love at first sight for Romeo Montague and Juliet Capulet when they meet each other at the Capulet ball, into which Romeo has snuck. The two fall in love and they profess their devotion to each other at Juliet’s balcony. They secretly get married. The stakes are raised for the young couple when Romeo avenges the death of his friend Mercutio who has been killed by Tybalt, Juliet’s cousin. For this, Romeo is exiled from Verona. Meanwhile, Juliet’s parents are forcing her to marry another suitor. In order to be together, Romeo and Juliet must risk it all.

Peter Wright’s much-loved production is a festive treat for the whole family and an iconic staging with a special place in the hearts of ballet fans around the world. Join Clara at a delightful Christmas Eve party that becomes a magical adventure once everyone else is tucked up in bed. Marvel at the brilliance of Tchaikovsky’s score, as she and her enchanted Nutcracker fight the Mouse King and visit the Sugar Plum Fairy (Anna Rose-O’Sullivan) and her Prince (Marcelino Sambé) in the glittering Kingdom of Sweets. Julia Trevelyan Oman’s period designs bring festive charm and fairytale magic comes together with spectacular dancing in this unforgettable classic ballet.

After Bella and Edward's honeymoon, things take a turn for the worse when Bella realises she is pregnant. The baby grows at an abnormally fast rate and causes many health problems to Bella. The wolf pack see the unborn child as a threat and plan to get rid of it. But the Cullens do everything they can to ensure that both Bella and the unborn child remain safe.

The final Twilight Saga begins with Bella now a vampire learning to use her abilities. And happy to see her daughter, Renesmee is flourishing. But when someone sees Renesmee do something that makes them think that she was turned. This person goes to the Volturi, because it is a violation to turn a child. And the penalty is death for both who turned the child into a vampire and the child, cause they deem a turned child too dangerous. Alice gets a vision of the Volturi coming after them. So the Cullens try to convince them that Renesmee is not a threat. So they ask friends and family to come stand with them. But when someone who has it in for the Volturi shows up and tells them they should be ready for a fight. And they get ready.

Bella once again finds herself surrounded by danger as Seattle is ravaged by a string of mysterious killings and a malicious vampire continues her quest for revenge. In the midst of it all, she is forced to choose between her love for Edward and her friendship with Jacob -- knowing that her decision has the potential to ignite the struggle between vampire and werewolf. With her graduation quickly approaching, Bella is confronted with the most important decision of her life.

After Bella recovers from the vampire attack that almost claimed her life, she looks to celebrate her birthday with Edward and his family. However, a minor accident during the festivities results in Bella's blood being shed, a sight that proves too intense for the Cullens, who decide to leave the town of Forks, Washington for Bella and Edward's sake. Initially heartbroken, Bella finds a form of comfort in reckless living, as well as an even-closer friendship with Jacob Black. Danger in different forms awaits.

Bella Swan has always been a little bit different. Never one to run with the crowd, Bella never cared about fitting in with the trendy girls at her Phoenix, Arizona high school. When her mother remarries and Bella chooses to live with her father in the rainy little town of Forks, Washington, she doesn't expect much of anything to change. But things do change when she meets the mysterious and dazzlingly beautiful Edward Cullen. For Edward is nothing like any boy she's ever met. He's nothing like anyone she's ever met, period. He's intelligent and witty, and he seems to see straight into her soul. In no time at all, they are swept up in a passionate and decidedly unorthodox romance - unorthodox because Edward really isn't like the other boys. He can run faster than a mountain lion. He can stop a moving car with his bare hands. Oh, and he hasn't aged since 1918. Like all vampires, he's immortal. That's right - vampire. But he doesn't have fangs - that's just in the movies. And he doesn't...

John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.

Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Oscar® winner Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard. As Glinda’s stardom expands and she prepares to marry Prince Fiyero (Olivier award winner and Emmy and SAG nominee Jonathan Bailey) in a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a conciliation between Elphaba and The Wizard, but those efforts will fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Boq (Tony nominee Ethan Slater) and Fiyero forever, and threaten the safety of Elphaba’s sister, Nessarose (Marissa Bode), when a girl from Kansas comes crashing into all their lives. As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.

Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth she knows about The Wizard (Jeff Goldblum). Glinda, meanwhile, has become the glamorous symbol of Goodness for all of Oz, living at the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Oscar® winner Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard. As Glinda’s stardom expands and she prepares to marry Prince Fiyero (Olivier award winner and Emmy and SAG nominee Jonathan Bailey) in a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a conciliation between Elphaba and The Wizard, but those efforts will fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Boq (Tony nominee Ethan Slater) and Fiyero forever, and threaten the safety of Elphaba’s sister, Nessarose (Marissa Bode), when a girl from Kansas comes crashing into all their lives. As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.