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button. Financial Times | Arts & Weekend
Sustainable fashion: what does green mean?The fashion world has been slow to pin down terms such as 'eco', 'organic' and 'ethical,' says Vanessa Friedman - 43 days ago
The art market: a record-breaking Giacometti
Dealers regard the £65m fetched by 'L'Homme qui marche 1' as signalling a dramatic turnaround, says Georgina Adam - 43 days ago
Travel special: Australia and New Zealand
Journey into the outback, enjoy the watery pleasures of Perth or hide in the hills outside Christchurch - 31 days ago
Love, not anger
Van Gogh's letters and paintings reveal a lover of flowers and gardens. Robin Lane Fox is inspired by his marvellous eye for colour - 43 days ago
Fireman Hank
Henry Paulson's account of the financial crisis reminds us not merely of the failure of markets but of government's decisive role in rescuing the system from itself, says Lionel Barber - 43 days ago
Van Doesburg at Tate Modern
The exhibition on the Dutch abstract painter highlights the contrast between his work and that of his more famous contemporary, Piet Mondrian, says Jackie Wullschlager - 43 days ago
Training for the London Marathon
With only 11 weeks to go, here are some options for those who haven't put in quite as many miles as they had hoped – or worse, haven't even started yet - 43 days ago
Lunch with the FT: Lynda Gratton
Is excessive risk-taking in the financial world a matter of too much testosterone? One of the world's leading business thinkers shares salads and insights with Stefan Stern - 43 days ago
Ace service in San Francisco
Californian cuisine combined with great waiting staff dazzle Jacob Kenedy, while Tracey Taylor samples the area's finest street food - 43 days ago
An A-to-Z of the Winter Olympics
Before the 21st Winter Games begin in Vancouver, brush up on your snowsports trivia with our guide to country teams, venues and infamous skiers and skaters - 43 days ago
Daily Telegraph | Arts
An Oscar's a dangerous thing for a womanThere's an eerie relationship between winning a Best Actress Oscar and losing your man, says William Langley. - 5 hours ago
Celia Imrie interview: 'It kills me to think what I put my mother through...'
As she prepares for a play about a child who is bipolar, actress Celia Imrie tells Olga Craig about her own teenage struggle with anorexia. - 5 hours ago
Would you torture this man?
A spoof game show on French television has shown that the majority of us are capable of unthinkable cruelty once the lines between reality and fantasy are blurred, says Michael Portillo. - 7 hours ago
Outrages are not the only truth
It's sad that comic novels so seldom take prizes, writes Rowan Pelling. - 8 hours ago
The Archers theme played on BBC 6 Music after blunder
BBC 6 Music presenter Shaun Keaveny played listeners the theme music from The Archers to 'redress the balance' on Thursday after a bungle meant the Radio 4 rural soap was interrupted by three minutes of rock tunes. - 1 day ago
The South Bank Show: final cut
For decades Melvyn Bragg has persuaded key artistic figures of the age to talk with extraordinary candour: Here he considers the influence of The South Bank Show, and relives his encounters with Paul McCartney, Alan Bennett, Martin Amis, Tracey Emin and Eric Clapton - 2 days ago
Tammy Wynette: Tragic Country Queen by Jimmy McDonough: review
Tammy Wynette rarely stood by her man, finds Helen Brown, as she delves into the soulful new biography by Jimmy McDonough - 2 days ago
The World that Never Was by Alex Butterworth: review
Christopher Howse discovers how destitution and pride fuelled the anarchists of late 19th-century Europe, in Alex Butterworth's new book, The World that Never Was - 2 days ago
E.T voted greatest ever children's film
Tale of the friendly extraterrestrial named greatest ever in poll. - 1 day ago
My irrational dislike of Hugh Grant is driving me to the edge of reason
Everybody has a celebrity they love to hate, and for Bryony Gordon, Hugh Grant takes the cake. - 1 day ago
Guardian | Theatre
Theatre review | Here, There & Everywhere | Theatro Technis | London<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/78090?ns=guardian&pageName=Theatre+review+%7C+Here%2C+There+%26amp%3B+Everywhere+%7C+Theatro+Technis+%7C+London%3AArticle%3A1374577&ch=Stage&c3=Guardian&c4=Theatre%2CStage%2CCulture+section&c6=Michael+Billington&c7=10-Mar-20&c8=1374577&c9=Article&c10=Review&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FTheatre" width="1" height="1" /></div><p class="standfirst">Theatro Technis, London</p><p>Playwrights are getting younger. This admirable venture consists of 10 plays each of 10 minutes and written by children aged 10 to 12. It's the brainchild of a charity, Scene and Heard, now in its 11th year, and is designed to encourage the self-expression and self-esteem of children from the Somers Town area in Euston, London. It may sound worthy, but what we get is an evening of spiralling fantasy of a kind that makes Ionesco look rather old-fashioned.</p><p>Admittedly the plays fall into a pattern: a large number show inanimate objects interacting with animals; and all, under instructions from the writers' mentors, show a duologue disrupted by the arrival of a third party. What is fascinating is what the plays reveal of children's preoccupations.</p><p>Nothing is ever what it seems. A talking beard turns into a CIA agent. A cupcake becomes a serial killer. And a sumo wrestler is suddenly revealed as a woman in disguise. These last two come from one of the funniest of the plays, by Libby Habib, in which a credit card puts its trust in the cupcake only to discover it has "a jam filling of stone".</p><p>Under the wild inventiveness, however, there lurks a hunger for reassurance and traditional certainties. In one of the sadder plays a vodka bottle finds his love for a rose betrayed by a symbol of contemporary consumerism. In another, an African dog is united in marriage with a long-jumping Olympic athlete.</p><p>The biggest surprise comes in a work by Yaaseen Khalique in which a library is bullied by a laptop who tells him "computers are the future - books are nothing". Literary types will be pleased to hear the sympathy is with the library, even if his survival depends, in a neat ironic touch, entirely on football books.</p><p>Collectively, the plays confirm that children have untrammelled imaginations; but also that they yearn for stability and trust. It also proves they have a natural instinct for drama. The Somers Town children are doubly fortunate in that they get to see their work performed and directed by professionals. Jenni Maitland, the interventionist third party, plays an astonishing mix of roles, including a third-class stamp, a Chinese dragon and a tornado. But all the volunteer actors do a selfless job: I was impressed by Nigel Anthony as a 1945 machine gun, and Emma Swinn as an embodiment of the FA Cup who peevishly announces: "I don't want to go to Bolton."</p><p>A heady evening which leaves you wishing that this demonstration of what drama can do for children could be funded and repeated on a national scale.</p><p><em> </em></p><p class="rating">Rating: 3/5</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/michaelbillington">Michael Billington</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 23 hours ago
What I see in the mirror: Jeremy Hardy
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/23012?ns=guardian&pageName=What+I+see+in+the+mirror%3A+Jeremy+Hardy%3AArticle%3A1366393&ch=Life+and+style&c3=Guardian&c4=Beauty%2CLife+and+style%2CComedy+%28Radio+genre%29%2CComedy+live+%28Stage%29%2CCulture+section&c6=Jeremy+Hardy&c7=10-Mar-20&c8=1366393&c9=Article&c10=Feature&c11=Life+and+style&c13=What+I+see+in+the+mirror+%28series%29&c25=&c30=content&h2=GU%2FLife+and+style%2FBeauty" width="1" height="1" /></div><p class="standfirst">Ageing suits me because I was born old, like Spencer Tracy or Dolly the Sheep</p><p>I see someone who is much older than I was expecting. The image of my face I hold in my mind is always about 10 years out of date. I am aware that I am 48, but think of that as being quite young, which it isn't. I have a lived-in face because I'm a worrier. Complacency is the best thing for the skin.</p><p>My friend Lorraine says young people look like they're wearing masks. I think ageing suits me because I was born old, like <a href="http://www.imdb.com/name/nm0000075/" title="">Spencer Tracy</a> or<a href="http://www.sciencemuseum.org.uk/antenna/dolly/" title=""> Dolly the Sheep</a>. Baby-faced people look bright and perky for years, then suddenly look horrible, like <a href="http://www.paulmccartney.com/" title="">Paul McCartney</a> when he got to 50.</p><p>Being in the latter stages of life means the morning is unkind to the reflection. It takes a few hours for the creases to fall out. By about 4pm, I look quite nice.</p><p>I am reasonably clean-living. I should be more like<a href="http://www.imdb.com/name/nm0000569/" title=""> Gwyneth Paltrow</a>, but I'd rather shoot myself. I do take a lot of supplements. In fact, I have little room for food once I've swallowed my capsules. I don't drink very much any more. A couple of years ago, I went a month without alcohol and caffeine. It's great; you can feel the toxins leave your body – along with your will to live.</p><p>I keep my hair quite short these days, so I don't need to check on it too often. As it grows, it starts to go a bit mental. My partner says, "Don't you ever look in the mirror before you go out?" The answer is, "No."</p><p>• Jeremy Hardy's memoir, <a href="http://www.pressatrandom.co.uk/opc/titlesummary.aspx?id=126183" title="">My Family And Other Strangers</a>, is <sup></sup>published by Ebury at £11.99.</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/lifeandstyle/beauty">Beauty</a></li><li><a href="http://www.guardian.co.uk/tv-and-radio/radio-comedy">Radio comedy</a></li><li><a href="http://www.guardian.co.uk/stage/comedy">Comedy</a></li></ul></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 24 hours ago
Why are we snooty about musicals?
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/27904?ns=guardian&pageName=Why+are+we+snooty+about+musicals%3F%3AArticle%3A1374522&ch=From+the+Guardian&c3=Guardian&c4=Musicals+%28Stage%29%2CStage%2CCulture+section%2CAndrew+Lloyd+Webber+%28Media%29%2CMedia%2COpera+%28Music+genre%29%2CTheatre&c6=Ian+Jack&c7=10-Mar-20&c8=1374522&c9=Article&c10=Comment&c11=From+the+Guardian&c13=Ian+Jack+on+Saturday+%28series%29&c25=&c30=content&h2=GU%2FFrom+the+Guardian%2FMusicals" width="1" height="1" /></div><p class="standfirst">The cost is staggering, the queues off-putting, but here it is: I was curiously moved by Lloyd Webber</p><p>Andrew Lloyd Webber's new musical, Love Never Dies, has had some stinging reviews: "this poor sap of a show" (New York Times); "misses on all fronts" (Jewish Chronicle); "lacks psychological plausibility – worse, it lacks heart" (London Evening Standard). The poor reception hasn't been quite universal – Michael Billington in the Guardian was more generous – but for Lloyd Webber devotees it has tended to add weight to Sheila Hancock's recent complaint that critics, as well as may of her fellow actors, have "an incredibly grand attitude" towards musicals, which pack many West End theatres that would otherwise struggle to fill 1,500 seats every night.</p><p>Hancock isn't a disinterested witness. She's in the musical Sister Act, yet another stage adaptation of a Hollywood film, and soon she'll be appearing on the BBC as a judge in yet another Lloyd Webber talent contest. Still, she could be speaking a truth. I examine my own conscience: am I and most people I know (let's call ourselves Guardian readers) … are we, in her word, "snooty" about musicals? At first glance, the historical record looks pretty good. Beginning with Sigmund Romberg's Desert Song, as performed by the East Kilbride Operatic Society, my list of the seen and enjoyed would include My Fair Lady, Kiss Me Kate, A Chorus Line, most of Rogers and Hammerstein, quite a bit of Gilbert and Sullivan and a fair few Sondheims. Spamalot on Broadway and Anything Goes in Drury Lane are among my favourite nights in a theatre ever.</p><p>A second glance shows a bias towards comedy. A third glance suggests neophobia – a respect for the canon but very little new stuff. Until this week, the one and only Lloyd Webber musical I'd seen in a theatre was Evita, more than 30 years ago. Soon after, in the 1980s, musicals took on their present form. In the words of Billington they became "Thatcherism in action", both in their stories of individual triumph and in their ability to make loads of money from long runs and franchises. Because a musical costs a lot to put on – singers, actors, orchestras, sets – the seats cost a lot to sit in; the paying customer, therefore, wants value for his money and translates value as spectacle. Billington said he mourned the passing of the smaller-scale "convivial" musical: "The form has been undermined by money and spectacle. What you surrender to is the sense of the event."</p><p>Millions of people have surrendered, but somehow I missed Cats, Les Miserables, Miss Saigon and The Phantom of the Opera, which has been playing in London since 1986 and is now the longest-running show in Broadway history. Snootiness probably played its part. The queues waiting for returns looked much the same as the interminable lines outside Madame Tussauds and the Tower of London: coach parties, boys and girls from Stuttgart and Minneapolis. Musicals were just another feature of the tourist trade. To those of us reared to a peculiar reverence for the stage, it seemed almost sacrilegious to fill it with special-effect helicopters or waterfalls – but that, of course, is to misunderstand theatrical history. Revolving stages and orchestra pits exist to be used – and they certainly are in Love Never Dies.</p><p>I took my 17-year-old daughter. Two tickets for the stalls cost £135; a programme, £3.50; three orange juices and a small white wine, £13.80. We haven't had a good experience of London theatre recently, and when that happens the price of things looms especially large. Leaving Enron – a simple-minded play mysteriously over-praised – we wondered about the £120 it had cost the three of us. A night at the opera was even worse; £145 for two – a birthday treat – for a production ruined by director-itis, where a brother commits a finger rape of his sister, stage front, to suggest an incest that neither the story's original author nor its composer (Sir Walter Scott and Donizetti) could have possibly conceived; but then neither could they have foreseen a Scottish feudal feud transposed to a centrally heated Kelvinside villa c1880. Bah, psychological implausibility, etc, which was pretty well my mood as I collected our tickets at the Adelphi theatre in my new role as the Rip van Winkle of the British musical theatre.</p><p>I'll get the worst things over first. As the sequel to The Phantom of the Opera, Love Never Dies has had a long and complicated history, not musically but in terms of plotting, characterisation, dialogue and lyrics – "the book". The novelist Frederick Forsyth had a crack and then Ben Elton took over, working with the composer and the lyricist, Glenn Slater: four hands rather than two, and it shows in a muddled first half. Then there was the audience. The house was sold out, but the row immediately in front of us remained strangely empty until, two or three minutes after curtain-up and the action begun, half-a-dozen big people bumped down in their seats. The fact that all of them were drinking from plastic cups ruled out a rush from a delayed train or congestion on the M25.</p><p>Who were these tipplers, fidgets and whisperers? At the interval, two scarlet-liveried attendants led them from and to their seats.</p><p>"We're Lord Lloyd Webber's butlers," one said when I asked about the scarlet.</p><p>"So these would be Lord Lloyd Webber's guests?" I said, emulating Hancock's "incredibly grand attitudes" and indicating the jolly charabanc crowd.</p><p>Yes, the attendant said, but my daughter didn't believe her, having noticed from an advert in the theatre that "Grand" and "Luxury" experiences of Love Never Dies were available to those "celebrating a special occasion or entertaining clients" and prepared to pay at from £125 to £195 a head for the private dining room and the champagne.</p><p>As for the rest of the evening, there was nothing to dislike about it and a lot to be enjoyed. Lloyd Webber may be dismissed by some as a second-rate Puccini, but at its best his music can summon feelings in an audience without necessarily cheapening them, and the cast sang strongly and clear. There are one or two sweet melodies that pass the hum-as-you-leave-the-theatre test, and some of the stage effects are transfixing; all the way back on the tube we puzzled over the extra who had real legs and the torso and head of a skeleton. Amazing! How had it been done?</p><p>By the end, quite a few in the audience were in tears, or standing on their feet and cheering, or both. This is what they've come for – "ecstasy, some key, transcendent moment", as Billington told me earlier, adding that the seat prices made them determined to find such moments. The professional critic's role here can be redundant, or at least very difficult, when so many online amateurs get directly to the heart of Lloyd Webber's appeal. "I absolutely loved it. Gave me goosebumps, made me cry – just what you want from a night out at a cracking good theatre show," says a post on the Love Never Dies website. I might not go that far, but we were glad that we went.</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/musicals">Musicals</a></li><li><a href="http://www.guardian.co.uk/media/andrewlloydwebber">Andrew Lloyd Webber</a></li><li><a href="http://www.guardian.co.uk/music/opera">Opera</a></li><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/ianjack">Ian Jack</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 24 hours ago
Theatre picks of the week
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/13232?ns=guardian&pageName=Theatre+picks+of+the+week%3AArticle%3A1373880&ch=Stage&c3=Guardian&c4=Theatre%2CStage%2CCulture+section%2CWilly+Russell%2CAlan+Ayckbourn+%28Playwright%29&c6=Lyn+Gardner%2CMark+Cook&c7=10-Mar-20&c8=1373880&c9=Article&c10=&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FTheatre" width="1" height="1" /></div><h2>If That's All There Is, Glasgow</h2><p>A winner of last year's Edinburgh International Festival Fringe Prize for Hysteria, Inspector Sands' show returns to the psychological. Inspired by Peggy Lee's song about expectation and reality, If That's All There Is begins on Frances and Daniel's wedding day. But as Daniel is about to make his speech, the stress that comes with the big day combines to make fantasy and reality, and love and hate, become confused. Murder and red wine, madness and sanity, fear and breakdown conspire in a whirligig physical show of mad shrinks, desperate interns and a couple whose violent urges, repressed feelings and murderous impulses bubble to the surface as soon as the champagne is served.</p><p><strong><em>Tron, Tue to 27 Mar</em></strong></p><p><em>Lyn Gardner</em></p><h2>Taking Steps, London</h2><p>Here's another small theatrical coup at the Orange Tree. Not only is it staging Alan Ayckbourn's Taking Steps for the first time in London since its 1980 premiere, it also has the man himself in the directing chair at the Richmond theatre for the very first time. Ayckbourn has written an incredible 74 plays in his illustrious career. While he has slowed up in recent years (only by his own prolific standards), My Wonderful Day played on Broadway last year and is just finishing a tour of the UK, and his latest creation, Life Of Riley, is due to be finished this year. Taking Steps is set across the three floors of a rundown house, a supposedly haunted former brothel, and chronicles the farcical lives of its resident eccentric renters and owners – a dodgy builder, a hard-drinking tycoon, a bed-hopping lawyer among them – following them over the space of 24 hours.</p><p><strong><em>Orange Tree, TW9, Wed to 29 May</em></strong></p><p><em>Mark Cook</em></p><h2>Juliet And Her Romeo, Bristol</h2><p>Theatre is so often about the new: young playwrights, companies and actors. So it's good to see older people in a reworking of Shakespeare's play that casts the lovers in their 80s. Particularly when it features a brilliant cast of veteran actors including Tim Barlow and Michael Medwin, led by Siân Phillips and Michael Byrne. Directed by Tom Morris, who was involved with Jerry Springer: The Opera, this production, in which the lovers' anxious children try to prevent the match, could be an unlikely hit too.</p><p><strong><em>Old Vic, to 24 Apr</em></strong></p><p><em>Lyn Gardner</em></p><h2>Arthur And George, Birmingham</h2><p>In 1906, a Birmingham solicitor, George Edalji, was released from prison still protesting his innocence after being convicted for sending anonymous letters and mutilating livestock. Desperate to prove that he was the victim of a miscarriage of justice, he turned to Sir Arthur Conan Doyle, creator of Sherlock Holmes. David Edgar adapts Julian Barnes's semi-fictional take on the tale, creating an enjoyable mystery which also explores Englishness, racism and intolerance.</p><p><strong><em>Birmingham Rep, to 10 Apr</em></strong></p><p><em>Lyn Gardner</em></p><h2>The Willy Russell Season, London</h2><p>Willy Russell's famous musical Blood Brothers has been given a new lease of life with the recent casting of former Spice Girl Mel C in the leading role. Now, the writer is getting a sort of greatest hits retrospective at the Menier Chocolate Factory with his two most successful plays – not least because they became highly popular films – Educating Rita and Shirley Valentine. The part of Rita (Julie Walters was the Liverpool hairdresser attempting an OU English in the 1983 movie) is taken by Laura Dos Santos, who played the role on Radio 4 last Christmas opposite Bill Nighy. Her tutor on this occasion will be Larry Lamb, recently deceased of the Walford parish as Archie in EastEnders. In Shirley Valentine, Meera Syal is the eponymous frustrated middle-aged housewife who finds love on a Greek island, a part memorably played on both the stage and screen by Pauline Collins.</p><p><strong><em>Menier Chocolate Factory, SE1, Fri to 8 May</em></strong></p><p><em>Mark Cook</em></p><h2>Moonfleece, Birmingham</h2><p>Philip Ridley is no stranger to controversy with plays such as the brilliant Mercury Fur, so you might think that the professional premiere of a play written to be performed by school groups as part of the National Theatre's Connections season would hardly be news. But it's the timing that's important: Ridley's play – set in an abandoned Bethnal Green council flat – sees a trio of homophobic and racist thugs finding a mixed-race teenager who has taken up residence, and it's touring BNP-targeted areas as the election campaign hots up. The production has attracted the BNP's attention online, and it now plays Birmingham, Doncaster and Dudley before returning for London runs in Hammersmith and Greenwich.</p><p><strong><em>The Drum, Thu & Fri</em></strong></p><p><em>Lyn Gardner</em></p><h2>The Mermaid Princess, Leicester</h2><p>Back in the UK after last year's tour of The Snow Queen, Italian company Teatro Kismet should bring its own very distinctive visual approach to Hans Christian Andersen's famous tale about the little mermaid who falls for a human prince and sacrifices her tail, her voice and her life for love. Like Andersen's The Red Shoes, it is a story in which a young woman is punished for desire, but this fine company often puts an intriguing spin on its fairytale storytelling, producing shows that are both visually ravishing, unexpectedly sensual and interestingly subversive. This production was created for Tokyo's famous Setagaya Public Theatre and should showcase the company's knack for simple inventiveness. The shows are also often multilayered and multifaceted, making them as much a treat for adults as they are for children; an excellent choice for a family theatre outing, then.</p><p><strong><em>Curve, Wed to 27 Mar</em></strong></p><p><em>Lyn Gardner</em></p><h2>Cider With Rosie, Bury St Edmunds & Taunton</h2><p>Laurie Lee's memoir of growing up in the Slad Valley in Gloucestershire during the first world war is written in prose like liquid honey and conjures a world where it's always summer. Translating that to the stage without slipping into nostalgia will be tricky, but this production – which includes live music and songs and an ensemble of six – offers a way of reproducing everyday hustle and bustle with vividness rather than haziness. Created from Lee's own words, the Theatre Royal's Abigail Anderson directs.</p><p><strong><em>Theatre Royal, Bury St Edmunds, to Wed; The Brewhouse, Taunton, Thu to 27 Mar</em></strong></p><p><em>Lyn Gardner</em></p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li><li><a href="http://www.guardian.co.uk/culture/willyrussell">Willy Russell</a></li><li><a href="http://www.guardian.co.uk/stage/alanayckbourn">Alan Ayckbourn</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/lyngardner">Lyn Gardner</a></div><div class="author"><a href="http://www.guardian.co.uk/profile/markcook">Mark Cook</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 24 hours ago
Comedy picks of the week
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/86575?ns=guardian&pageName=Comedy+picks+of+the+week%3AArticle%3A1374126&ch=Stage&c3=Guardian&c4=Comedy+live+%28Stage%29%2CStage%2CCulture+section&c6=James+Kettle+%28contributor%29&c7=10-Mar-20&c8=1374126&c9=Article&c10=&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FComedy" width="1" height="1" /></div><h2><a href="http://www.helenkeen.com">Helen Keen</a>: The Primitive Methodist Guide To Arctic Survival, York</h2><p>With this, as with her previous show covering a childhood passion for the minutiae of astronomy, Yorkshire-born comic Helen Keen shows a cunning ability to spin engrossing comedy out of arcane and unlikely subjects. Here she tells the (true) story of one of her Victorian ancestors, who embarked on a comprehensively misconceived journey to one of the most inhospitable places on Earth. This tale – and the broader subject of old-school adventure – provides Keen with the perfect jumping-off point for exuberant theorising and interactive silliness, frequently including her characteristically bizarre handmade puppets and props. At the end of the hour, you may not have the urge to emulate Scott and Oates, but you're likely to agree that this sophisticated rising star is one to watch.</p><p><em>Bootham School, Sun</em></p><h2>Tuborg Musical Comedy Awards, London</h2><p>While the quick fix nature of YouTube may be dampening audience appetites for slower-burning comedy (how else to explain the low ratings for the excellent Bellamy's People?), it's certainly helping to rehabilitate the status of musical comedy. Much maligned over the years, the genre is back on the agenda, thanks in part to the likes of <a href="http://www.youtube.com/watch?v=4pXfHLUlZf4">The Lonely Island's Jizz In My Pants</a> or <a href="http://www.youtube.com/watch?v=ZbbxA8a_M_s">Flight Of The Conchords' Hiphopopotamus Vs Rhymenocerous</a>. The Tuborg Musical Comedy Awards celebrates and promotes the best from this scene. Along with performances from the five newcomers shortlisted for the grand prize (including this year's Hackney Empire New Act winners Rob Broderick and Abandoman), there'll be sets from the cream of UK talent, like offbeat singer-songwriter Tom Basden and the terrifyingly deadpan Ginger & Black.</p><p><em>New Players Theatre, WC2, Fri</em></p><h2><a href="http://www.jerrysadowitz.com/">Jerry Sadowitz</a>, London & Glasgow</h2><p>The basic structure of Jerry Sadowitz's live act remains pretty constant. Every so often, he performs a card trick of incredible dexterity; the rest of the time, he spits poisonous but irresistibly funny invective against everyone from celebrities to minorities and murder victims. And in both cases, you're left wondering how he does it. Nothing is sacred to Sadowitz, and he's able to achieve levels of viciousness that famously offensive newer names like Frankie Boyle or Jim Jeffries wouldn't go anywhere near. Perhaps the reason we let him get away with it is that he truly convinces as someone howling into the abyss, trying to exorcise some demons. It's often said of Sadowitz that he's not really prejudiced because he hates everyone equally but, over the years, it's become apparent that that's not quite true: he hates journalists and fellow comedians most.</p><p><em>Leicester Square Theatre, WC2, Wed & Thu; King's Theatre, Glasgow, Fri</em></p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/comedy">Comedy</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/james-kettle">James Kettle</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 24 hours ago
Dance picks of the week
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/3538?ns=guardian&pageName=Dance+picks+of+the+week%3AArticle%3A1374140&ch=Stage&c3=Guardian&c4=Dance%2CStage%2CCulture+section%2CBallet%2CRoyal+Ballet%2CKenneth+MacMillan&c6=Judith+Mackrell&c7=10-Mar-20&c8=1374140&c9=Article&c10=&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FDance" width="1" height="1" /></div><h2>Royal Ballet: Concerto/The Judas Tree/Elite Syncopations, London</h2><p>In October 1992, Kenneth MacMillan died backstage at the Royal Opera House during a performance of his ballet Mayerling. Had he lived he would be 80 this year, and among the tributes is this triple bill showcasing the variety of his output. Still controversial after its 1992 premiere is The Judas Tree – a ballet driven by MacMillan's blackest demons – and danced here by Carlos Acosta, Leanne Benjamin and Edward Watson. In chirpy contrast is the comic pizzazz of Elite Syncopations, set to Scott Joplin. Completing the programme is Concerto, one of MacMillan's most enduring abstract ballets.</p><p><em>Royal Opera House, WC2, Tue to 15 Apr</em></p><h2>Yael Flexer: The Living Room, Bath & Bracknell</h2><p>Israeli choreographer Yael Flexer has made a sense both of informality and of intimacy a trademark of her work. Less interested in showcasing the physical prowess of her dancers than in their ability to communicate in subtle, emotional ways, she sets her productions amid scenarios that tread a borderline between performance and the reality of the everyday. The Living Room is typical of these ideas, a work placed in a bare functional space that can be read either as a domestic room or rehearsal studio, and which is occupied by a series of snapshots of fast, edgy movement that provides the backdrop for comedic banter. The stark visual imagery has been created by digital artist Nic Sandiland, Flexer's close collaborator, and the music scored by Nye Parry, Dougie Evans and cellist Karni Postel, with the latter playing live.</p><p><em>Bath Spa University Theatre, Tue; South Hill Park, Fri</em></p><h2>Ballet Black, London</h2><p>Founded back in 2001, Cassa Pancho's small but ambitious ensemble has made huge strides in opening up the world of ballet. It's not merely her policy of employing dancers of black and Asian descent in an art form with a depressingly white profile, it's also the choreographic mix, which has included works by Richard Alston, Liam Scarlett, Will Tuckett and Shobana Jeyasingh (her first work for a ballet-based company). For this season, the company's six dancers tackle an exceptionally inclusive range. From Christopher Hampson (choreographer with English National Ballet) comes Sextet, using music by Paul Hindemith; from Henri Oguike is a setting of Bach's Cello Suite In D Minor (his first work on point); hip-hop innovator Robert Hylton creates a pas de deux for the company, titled Human Revolution; and lastly a work by the company's ballet master Raymond Chai, using music by Bobby McFerrin and Arvo Pärt.</p><p><em>Linbury Studio Theatre, WC2, Wed to 27 Mar</em></p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/dance">Dance</a></li><li><a href="http://www.guardian.co.uk/stage/ballet">Ballet</a></li><li><a href="http://www.guardian.co.uk/stage/royal-ballet">Royal Ballet</a></li><li><a href="http://www.guardian.co.uk/stage/kenneth-macmillan">Kenneth MacMillan</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/judithmackrell">Judith Mackrell</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 24 hours ago
Three Good Wives | Theatre review
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/61510?ns=guardian&pageName=Three+Good+Wives+%7C+Theatre+review%3AArticle%3A1374476&ch=Stage&c3=Guardian&c4=Theatre%2CStage%2CWomen+and+women%27s+interests%2CIraq+%28News%29%2CAfghanistan+%28News%29%2CCulture+section&c6=Lyn+Gardner&c7=10-Mar-19&c8=1374476&c9=Article&c10=Review&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FTheatre" width="1" height="1" /></div><p class="standfirst">Little Angel, London</p><p>Patience is often considered a womanly virtue. But think of all that sewing you have to do. If only Penelope had been a little less handy with the needle and a little more proactive, she might have had more than a bit role in the Odyssey. But even in the 21st century, patience is being preached to the wives of soldiers who are deployed in Iraq and Afghanistan. In Inkfish's meditation on the women who wait, a US army wife offers tips to those whose husbands are about to be deployed. She looks on the bright side: "I've got three months to get a body like Britney Spears." There are some lovely moments in this show – although meditation might be a better word – which melds the stories of mythical women such as Penelope, Scheherazade and Mandodari with the experiences of military wives.</p><p></p><p>At one point, the three performers construct a machine gun and magazine of bullets from paper; in another, a little puppet figure has her mouth sewn up. But this production always seems like an idea for a theatre piece rather than the show itself.</p><p></p><p>The mix of video (Bush telling the world "we have prevailed [in Iraq]"), collages of sound that are sometimes hard to hear, puppetry and live action is awkward, as if everything has been thrown into the pot without editing. From its stories of the knock on the door in the night to its radio news clips "another soldier has been killed in Afghanistan" the piece is constantly offering up snippets of things we already know, and is bereft of further insight and analysis.</p><p></p><p>A potentially powerful litany of the rising numbers of dead US and allied soldiers over the last decade is destroyed by its failure to address the Iraqi and Afghan dead.</p><p></p><p><strong>Until 28 March. Box office: 020-7226 1787. </strong></p><p class="rating">Rating: 2/5</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li><li><a href="http://www.guardian.co.uk/lifeandstyle/women">Women</a></li><li><a href="http://www.guardian.co.uk/world/iraq">Iraq</a></li><li><a href="http://www.guardian.co.uk/world/afghanistan">Afghanistan</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/lyngardner">Lyn Gardner</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 1 day ago
The Colour of Nonsense | Theatre review
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/758?ns=guardian&pageName=The+Colour+of+Nonsense+%7C+Theatre+review%3AArticle%3A1374451&ch=Stage&c3=Guardian&c4=Stage%2CTheatre%2CCulture+section&c6=Lyn+Gardner&c7=10-Mar-19&c8=1374451&c9=Article&c10=Review&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FTheatre" width="1" height="1" /></div><p class="standfirst">National Review of Live Art, Glasgow</p><p>Forkbeard Fantasy may be in its 35th year but this company's mixture of madness and creativity never wanes, and it comes beautifully packaged in this gloriously dotty comedy thriller inspired by Edward Lear and The Emperor's New Clothes. There is a talking parrot ("I used to be an egg, you know"), a pet fly called Cedric, tulip mania, and when somebody says they intend to "take the lift", they mean just that.</p><p>Artists Splash, Line and Scuro have been commissioned by a famous Milan museum to make an exhibition called Nonsense. But with the deadline looming, the trio are paralysed by indecision. Line spends all his time creating a comic book about daily life in the studio, and Splash is a covert painter of tulip miniatures, scared that if his secret gets out his reputation as a cutting edge conceptualist will be destroyed.</p><p>Then a more intriguing job comes their way: the opportunity to create the world's first invisible artwork, the most beautiful thing that nobody's ever seen.</p><p>Brilliantly funny and full of insane invention in sound, film and weird mechanical contraptions, The Colour of Nonsense is an exuberant satire on an art and theatre world always in search of the new, in which today's young Turks become tomorrow's half baked has-beens.</p><p>Such is the success of the trio's invisible artwork that post-invisibilist and neo-invisibilist schools spring up immediately, and the National Gallery puts in an order for invisible souvenirs. Forkbeard's light touch keeps everything bubbling along nicely in 80 generous minutes of madly inventive, thoughtful fun.</p><p><strong>At Northcott theatre, Exeter, Monday until Saturday. Box office:01392 493493.</strong></p><p class="rating">Rating: 4/5</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/lyngardner">Lyn Gardner</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 1 day ago
Dara O'Briain | Comedy review
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/86347?ns=guardian&pageName=Dara+O%27Briain+%7C+Comedy+review%3AArticle%3A1374436&ch=Stage&c3=Guardian&c4=Comedy+live+%28Stage%29%2CStage%2CCulture+section&c6=Brian+Logan&c7=10-Mar-19&c8=1374436&c9=Article&c10=Review&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FComedy" width="1" height="1" /></div><p class="standfirst">Royal & Derngate theatre, Northampton</p><p>At one point in his new touring show, Dara O'Briain rages at the multiplatform ubiquity of the movie I Am Legend. He makes a good point, as part of a funny routine, but it's a bit rich coming from the man behind the book, the panel show, the newspaper column and the documentaries. "We have too much choice," the Irishman complains. So be discriminating. Forget Mock the Week. Give Three Men in a Boat a miss. See this show instead.</p><p>It's not without its flaws. O'Briain is prone to verbal diarrhoea. There's also too much audience interaction. Some of it yields big laughs, notably one chat about a woman who swallowed her tongue, which O'Briain gleefully ridicules. But "man of the people" isn't this comic's most persuasive pose. His best material is specific, thoughtful and, by his own admission, nerdy. Despite his apologies beforehand, the finest routine here is about antenatal classes. Speaking candidly about midwives and misinformation, O'Briain is as informative as he is intimate (a joke about oxytocin, anyone?), without ever sacrificing plain silly. (The set-piece ends with O'Briain as a surgeon bear.)</p><p>Elsewhere, the jokes often work to familiar formulae: imagine if other health services were as potentially sexual as massage; or imagine if, like video games, you had to earn access to the later stages of books and CDs. But O'Briain doesn't stop there – the latter gag culminates in a slapstick dumbshow demonstrating why, as operated by O'Briain, agent Snake in the game Metal Gear is "the worst agent we've ever had!" As with video games, so with midwives, chiropractors and the disaster movie 2012: O'Briain has a laser eye for the absurd and the spurious amid the too-much-stuff with which we shore up our hapless lives.</p><p></p><p><em>At Pavilions, Plymouth, on Thursday. Box office: 0845 1461460. Then touring. </em></p><p class="rating">Rating: 4/5</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/comedy">Comedy</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/brianlogan">Brian Logan</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 1 day ago
Hollywood stars flock to Broadway stage
<div class="track"><img alt="" src="http://hits.guardian.co.uk/b/ss/guardiangu-feeds/1/H.20.3/5363?ns=guardian&pageName=Hollywood+stars+flock+to+Broadway+stage%3AArticle%3A1374326&ch=Stage&c3=GU.co.uk&c4=Theatre%2CNew+York+%28News%29%2CScarlett+Johansson+%28Film%29%2CDenzel+Washington+%28Film%29%2CDaniel+Craig+%28Film%29%2CHugh+Jackman+%28Film%29%2CJude+Law%2CFilm%2CUS+news%2CWorld+news%2CCulture+section%2CFilm+industry+%28business%29&c6=Paul+Harris&c7=10-Mar-19&c8=1374326&c9=Article&c10=News&c11=Stage&c13=&c25=&c30=content&h2=GU%2FStage%2FTheatre" width="1" height="1" /></div><p class="standfirst">Denzel Washington and Scarlett Johansson head list of talent heading to Broadway amid Hollywood economic crisis</p><p></p><p>New Yorkers will not need to go to their nearest multiplex cinema to catch the latest performances by stars such as Denzel Washington, Scarlett Johansson or Christopher Walken. Instead, they will soon be able to see some of Hollywood's A-list in the flesh.</p><p>A flock of famous movie talent has swapped the sunshine and glamour of making films in Los Angeles for the more artistically rigorous demands of New York's theatre world.</p><p>Washington is starring in a new revival of Fences, a play by American writer August Wilson, which opens next month. Johansson and Liev Schreiber are already starring in Arthur Miller's A View from the Bridge. Walken's performance as a deranged killer in Martin McDonagh's new play, <a href="http://www.guardian.co.uk/world/2010/mar/14/martin-mcdonagh-race-row-broadway" title="">A Behanding in Spokane,</a> is also drawing in big crowds. Other current or recent big names appearing on stage include Laura Linney, Daniel Craig, Hugh Jackman and Jude Law.</p><p>Many Hollywood stars claim that appearing on stage represents a purer form of acting than celluloid and boosts their credibility as thespians, not mere film stars. "The first thing I want to do is more theatre. The second thing I want to do is direct movies. Acting in movies is now No 3 on the list," Washington told the New York Post tabloid recently.</p><p>But there may be a more prosaic reason. Hollywood studios are currently in the middle of an economic crisis. Studios have been hit by the lingering impact of the 2008 Hollywood strike and then the deep bite of the recession. Despite recent mega-hits such as Avatar, many studios are cutting costs and binning new film projects. MGM, for example, released just one movie last year, and some industry watchers think it is teetering on the verge of collapse. The famed independent movie studio Miramax is up for sale after huge job losses. It too slashed the number of films it is releasing.</p><p>At the same time many top Hollywood stars have seen a drop in their ability to demand massive wages for a movie. Lucrative deals where stars took a first cut of a film's box office have all but disappeared.</p><p>In short, a lot of film stars are finding work and cash a little harder to come by. No wonder a spell on Broadway suddenly looks good.</p><p>New York's theatre world is, however, welcoming them with open arms, despite a little behind-the-scenes grumbling from some of the city's thousands of perennially under-employed actors. Attaching a big name to a play guarantees press attention and a healthy public interest. If the names are big enough it can even make a production "review-proof" as audiences will flock to see the stars whatever the reviews. Many New York theatres and producers are now basing their business model around short-run plays with big star names.</p><p>"It is nice to have such an influx of stars coming to Broadway. It does help the business. They can help draw an audience and that will help any producer," said Dan Bacalzo, managing editor of <a href="http://www.theatermania.com/" title="">Theatremania</a>, a leading New York-based theatre website. Certainly some plays clearly do much better with star names than without. When a recent production of God of Carnage opened with an all-star cast, including James Gandolfini and Marcia Gay Harden, it played to packed houses. But when its cast switched to a group of highly praised but lesser-known actors, its take dropped and during the usual bonanza of Christmas week the once packed-out play was showing in front of a house at only 69% capacity.</p><p>Lucy Liu, star of the Charlie's Angels movies, has now been brought into the show.</p><p>Of course, being a famous movie star does not always mean someone can act in the theatre, especially when swapping the pampered movie world of multiple takes and reshoots for the brutal and unforgiving arena of live performance.</p><p>Yet many recent film stars have also drawn rave reviews, especially Walken, Law and Johansson. "I think if anybody was annoyed that Scarlett Johansson was here, they should go and see A View From The Bridge. She has been excellent in that part," said Bacalzo.</p><p></p><h2>Future and current productions include:</h2><p>Denzel Washington is starring in an upcoming production of the play Fences.</p><p>Scarlett Johansson is earning rave reviews in a View From The Bridge.</p><p>Laura Linney is playing a war photographer in Time Stands Still.</p><p>Lucy Liu is appearing in God of Carnage.</p><p>James Spader is starring in David Mamet's Race.</p><p>Christopher Walken is the lead role in the gruesome new play A Behanding in Spokane.</p><p>Anthony Mackie, who starred in the Oscar-winning The Hurt Locker, is playing opposite Walken.</p><p>John Lithgow is in Mr and Mrs Fitch.</p><div class="related" style="float: left; margin-right: 10px; margin-bottom: 10px;"><ul><li><a href="http://www.guardian.co.uk/stage/theatre">Theatre</a></li><li><a href="http://www.guardian.co.uk/world/new-york">New York</a></li><li><a href="http://www.guardian.co.uk/film/scarlettjohansson">Scarlett Johansson</a></li><li><a href="http://www.guardian.co.uk/film/denzelwashington">Denzel Washington</a></li><li><a href="http://www.guardian.co.uk/film/danielcraig">Daniel Craig</a></li><li><a href="http://www.guardian.co.uk/film/hugh-jackman">Hugh Jackman</a></li><li><a href="http://www.guardian.co.uk/culture/jude-law">Jude Law</a></li><li><a href="http://www.guardian.co.uk/world/usa">United States</a></li><li><a href="http://www.guardian.co.uk/business/film-industry">Film industry</a></li></ul></div><div class="author"><a href="http://www.guardian.co.uk/profile/paulharris">Paul Harris</a></div><br/><div class="terms"><a href="http://www.guardian.co.uk">guardian.co.uk</a> © Guardian News & Media Limited 2010 | Use of this content is subject to our <a href="http://users.guardian.co.uk/help/article/0,,933909,00.html">Terms & Conditions</a> | <a href="http://www.guardian.co.uk/help/feeds">More Feeds</a></div><p style="clear:both" /> - 1 day ago
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India and US unite over piracy
Film-makers in the US and India form a coalition to fight piracy in the South Asian nation, one of the biggest film markets - 1 day ago
Election to be captured by artist
Photographer Simon Roberts has been chosen as the nation's official artist for the coming general election. - 19 hours ago
The Stage / News Headlines
Tributes paid to television director Gareth Carrivick- 14689 days ago
Flashdance confirms dates at Shaftesbury
- 14689 days ago
Tap Dogs returns to UK with West End run at Novello
- 14689 days ago
Minister's up-front policy is a 'shambles' - unions
- 14689 days ago
Edinburgh home found for Creative Scotland
- 14689 days ago
Delirium project announced for Old Vic Tunnels
- 14689 days ago
Gabriel Bryne and Michael Colgan honoured
- 14689 days ago
Hackney gets green light for £1.1m sale to balance books
- 14689 days ago
Buffini, Harris and Agbaje lead Tricycle's Women, Power and Politics season
- 14689 days ago
Five commissions Glee-inspired reality show
- 14689 days ago
Society of London Theatre | News
Join us at the Laurence Olivier Awards this Sunday 21 MarchExcitement over this Sunday’s Laurence Olivier Awards is mounting as we reveal that more than 58,000 votes were cast in the brand new Audience Award for most popular long-running show. - 1 day ago
Garcia leads Tap Dogs into Novello
Australian dance show Tap Dogs is to return to London this summer, opening at the Novello theatre on 15 June with Adam Garcia leading the cast. - 2 days ago
Flashdance opens in West End
Following the departure of Hairspray at the end of this month, the Shaftesbury theatre is to play host to another dance-inspired show, Flashdance The Musical, which arrives in the West End on 24 September (press night 14 October). - 2 days ago
Globe makes Shakespeare Childsplay
Shakespeare’s Globe is offering children aged 8-11 the chance to explore its productions through special Childsplay workshops this summer. - 2 days ago
The Gods Weep
Dennis Kelly has created a dark, brooding play which explores the consequences of power and greed on loyalty, friendship and love. - 3 days ago
Stars flock to Laurence Olivier Awards this Sunday
Join us on Sunday 21 March from 18:30 to see theatrical luminaries including Jude Law, Tamsin Greig, Elaine Paige, James Earl Jones and Kim Cattrall present the winners of this year’s Laurence Olivier Awards with their bronze statuettes. - 2 days ago
Conleth Hill
Northern Irish actor Conleth Hill, one of our most dependable performers, has found his second home at the National Theatre, he tells Caroline Bishop. - 3 days ago
Ghosts leaves Duchess early
Iain Glen’s production of Ibsen’s Ghosts is to close at the Duchess theatre on 27 March. It had been booking until 15 May. - 3 days ago
Tricycle theatre examines women in politics
The Tricycle theatre is to present a season of work focusing on the history and current role of women in British politics, programmed to run shortly after this summer’s general election. - 4 days ago
Chronicles Of Long Kesh
It may be a fault of my own preconceptions, but when I think of the IRA, sectarian killings or the Troubles, men performing Smokey Robinson routines is not the first image to leap into my mind. - 4 days ago