#theatre

#theatre

Everything is autobiographical here, as Alexander is "committed to bringing as many lights outside the studio as possible" - recreating studio aesthetics to "complex-ify" his lighting, the simple flash will no longer suffice. Although it's simple, Alexander forewarns "we're no longer within simple times." He's sworn to "entering the world of the hat", (a reference to Stephen Sondheim's song Finishing The Hat, a classic tune all about the reverence of everyday objects) and in the process, Alexander is tailoring each subject to its setting, finding each item or person's most interesting light.

Tagore was the first Asian to win a Nobel Prize of any sort and also the first non-European to win the Nobel Prize in Literature. 'India has two aspects,' Tagore wrote. 'In one she is the householder, in the other a wandering ascetic.'

[Morrisseau] had favourite images and colours he liked to use. See that colour there? I believe that could be described as red cadmium light, used only later in his life in the 1980s. Back in the 70's, he was more of a red oxide kind of guy. And this painting is dated 1976. Suspicious.

Keira Knightley has famously adopted a lower profile since becoming a mother a decade ago, but this autumn she'll return to the stage in an extremely cool theatre project that's very much in line with her hipper middle aged screen output.

John Proctor is the Villain has sold out its entire run at the Royal Court Theatre before it had even played a single show there.

Nassim Soleimanpour's White Rabbit, Red Rabbit has become a hallmark of 'cold read' plays, where actors perform without prior knowledge of the script, responding live to prompts.

The mirrored chandelier that dangles ominously over Marianne Elliott's production of Les Liaisons Dangereuses is a true spectacle, even at a tech rehearsal. At nearly five metres wide, it's more than a third of the width of the National Theatre's vast Lyttelton stage.

Rosamund Pike's portrayal of Judge Jessica Parks is a high-energy performance, showcasing her ability to balance the demands of the law with her personal life. The character embodies the struggle of women who must navigate multiple roles, often sacrificing their autonomy for the needs of others.

The Man is so absorbed in his trout-fishing hobby that he won't stop to watch a sunset with The Woman, even though he has romantically brought her to his remote cabin for the first time.

Hampton's adaptation retains the original's outrage at a calcified and predatory aristocracy as well as its arch sense of distance, focusing on dispassionate cruelty.

Stripping audiences of their sight, the production toys with the fear of anticipation, using light touch and scent to deliver its narrative.

Trainspotting the Musical is as legit as it comes, being written by Welsh himself, in a version that will expand on the original story of Renton, Sick Boy, Begbie et al via a couple of new characters and a bit of material from his 2012 prequel Skagboys.

"I haven't heard him sing yet," Flannery confesses, in answer to the burning question, when we sit down after a rehearsal in Nuns Island theatre in Galway.

I need you to take a breath. Baby, I need you to take a breath. Just stop. What's your name? What's your name? I want to know your name. I'm Cynthia. I want to know who you are. I know you're angry and I'm so sorry.

They will normally say: All right then, bye. My gran died when I was about 18, and I was sad, of course, but in terms of tears there was nothing, no water. I never cried at movies. I didn't cry on my wedding day, nor at the birth of either of my daughters. It never alarmed me. I actually thought I might have underactive tear glands.

To pass the time, the pair play a game they've shared since Daughter's childhood, triumphantly rattling off palindromes - words that read the same backwards and forwards, such as "m-o-m," "d-a-d," "s-i-s" and "r-a-c-e-c-a-r." As the game gets increasingly complex ("name now one man"), it becomes clear that Dana's play is a dark palindrome itself, where circling dialog and damaging relationship dramas repeat themselves.

Tonight is the press night for Arcadia's second major London revival at the playwright's home from home, The Old Vic where he made his name with Rosencrantz and Guildenstern are Dead. An extremely witty and intellectually dazzling masterpiece, the play in typical Stoppardian fashion examines man's drive to impose systems of order and disorder on the world, the dialectical tension that exists between art and science, sex, the laws of thermodynamics, chaos theory and landscape gardening amongst many other popular dinner table subjects.

Discover the history of five Historically Black Colleges and Universities (HBCU) in the museum's recently opened "At the Vanguard" exhibit throughout the month. This week, there's a curator tour about American military history on Wednesday, and a Harlem Renaissance book talk with writer A'Lelia Bundles on Thursday (exhibit closes July 19 , free, events require registration, Smithsonian NMAAHC).

I will arise and go now, for peace comes dropping slow, reads the male lead to his bed-bound partner and their dying, severely disabled newborn boy. These lines sing out in Guess How Much I Love You?, Luke Norris's new play about a couple navigating the premature loss of their child. Yeats's words capture the play's driving emotional forces: the possibility of finding peace after such profound trauma, the lifelong burn of unexpected bereavement and the temptation to end it all.

Set in a school in a small town in rural Georgia, John Proctor... centres on five female classmates who are not only studying The Crucible, but get caught up in Crucible-like events as debate whether or the play's nominal hero John Proctor is indeed the villain, as opposed to Abigail Williams, the young woman he has an affair with and then discards.

I remember laughing so hard, largely because of how Gridley, so relaxed in her comedy, played Juliet as someone who made sense to herself, if no one else, and what did she care? Gridley's comedic stance-part purveyor of nonsense, part paragon of common sense-put her squarely in the tradition of amazing women like Imogene Coca, and "Mad TV" 's Debra Wilson, comedians who made mental pratfalls a thing.

Trans trailblazer Dylan Mulvaney is no stranger to being iconic, and her birthday gives us the perfect excuse to celebrate her. The stage star has gone from strength to strength after she first entered the scene with her now-infamous "Days of Girlhood" social media series documenting her transition. Today (29 December) marks the icon's 29th birthday, and in honour of her role as a trans activist, we've highlighted some of her best moments from this year. Her debut book Paper Doll: Notes from a Late Bloomer, which is a collection of journal entries from her first-year transition, was released on 11 March this year.

Pinocchio will be staged at Shakespeare's Globe this festive season in a new musical production aimed at family audiences. The show is presented in the Globe's famous open-air theatre, with savings of up to 60% on selected performances. This new musical adaptation retells the familiar story of Pinocchio at one of London's most recognisable theatres. The plot follows Geppetto, a solitary woodcarver, who creates a wooden puppet in search of companionship and purpose.