The new play set in JK Rowling's wizarding world is a nostalgia trip.
The Manic Street Preachers talk to Dorian Lynskey about meeting Castro, losing faith in politics and why Europe is a “unified art movement”.
So-called “seasoned theatregoers” have complained about the audience clapping during Martin Freeman’s West End appearance as Richard III, in what is nothing more than a display of blatant snobbery.
While it’s generous and sensible to give the fans what they want, the familiarity of the material starts to feel weird.
A rising star in Nigeria, frustrated at the fading news coverage of Boko Haram's abduction of more than 200 schoolgirls, has offered up her virginity.
With their backcombed hair, dreads, tutus, ripped tights and Doc Martens, the Slits were the most anarchic and badly behaved band on the “White Riot” tour.
The singer’s new album is a sad indictment of post-feminism – a culture in which women may achieve what they are told to and still feel brutally unhappy.
China is obsessed with Sherlock, Iran loves Top Gear and Azerbaijan has its own Anne Robinson. But these shows are worth much more than money, writes James Medd.
Alexandra Coghlan reviews Jonathan Kent’s new production of Manon Lescaut at the Royal Opera House and Shadwell Opera’s In The Penal Colony at the Arts Theatre.
Classical music perhaps wouldn’t be everyone’s medium of choice to shout about issues, ideas and beliefs but two recent events made a strong case for why it should be.
Until state-funded arts organisations like the Royal Opera House can advertise their work to people who don’t already love their art form, they will never attract broader audiences.
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