Maxine Peake talks on the Prince of Denmark in a new production at the Manchester Royal Exchange.
On the eve of a major season of adaptations at the Barbican, Erica Wagner goes to Norway to discover how the playwright captured the beginning of the modern world.
Bonnie McFarlane on why her new film, Women Aren’t Funny, is tackling some very serious subjects.
We don’t know what to expect: whether they want us to be garrulous or mysterious; live up to our image or confound it; be starry or down to earth.
The Big Tramp, combining the literary tropes of homelessness and night-walking, will raise money for theatre company Cardboard Citizens.
If we still ask, where has Kate Bush been all these years and why has she not done this before, my answer would be that I think she has been living the life that made this show possible.
Four leading figures make their cases for Paul, John, George or Ringo respectively.
A band like the Beatles could never make it as big as they did in our era of hyper-commercialisation and Brit School elitism.
Poet laureate of women’s inner lives, resolute booster of the girls who love her, healthily selfish, and heartily unconcerned with what the haters think about her: we could all do well to spend a bit of time in Taylor’s world.
In February 1964, then future NS editor Paul Johnson wrote an article attacking the Beatles and all they stood for. It became the most complained-about piece in the Statesman’s history.
Fifty years since the height of their fame, the band’s legacy is more important than ever, writes authorised Beatles biographer Hunter Davies.
In the second half, John Lennon stepped forward to the mike, thighs straining against his shiny and confining suit. He shook his locks, lowered his eyes and let me have it.
More and more high-profile women are embracing the language, ideas, and symbolism of feminism, and that they’re doing it from their places within the power structure, not just from outside of it.
Because the theatrical profession generally attracts more radicals than reactionaries, these performances tend to be rallies for the Yes campaign.
Superbly acted, aggressively and imaginatively directed and providing great variety, these dramas will make thousands of Scots think again about their country.
With this re-release of the 1970 documentary, the question is really how many different versions of “Suspicious Minds” you want in your life.
When it comes to music such as northern soul, there is a tendency to regard men as the experts, relegating women’s stories of what it felt like to be there to the status of anecdote.
Performances by James Ehnes and the BBC National Orchestra of Wales had the Royal Albert Hall audience listening intently.
For the past three years, an international Beckett festival in Enniskillen has attempted to establish a more positive Google footprint alongside the one established by the IRA bombing at the town’s cenotaph in 1987.
From Brahms’s chamber music to Mozart opera, the little Swiss ski-village provides a musical feast.
Clare Teal brought an imagined “jazz off” between the Duke Ellington and Count Basie bands to the Royal Albert Hall.
In Shakespeare in Love, he is more Bart than Bard: a feckless, penniless hack dramatist with writer’s block who has terrible ideas for plays – “Romeo and Ethel, the Pirate’s Daughter”.
A concept album of sorts, this claims to chart the emotional experiences of an imaginary woman – from romantic activities to pain, deception and more.
100 years after British foreign secretary Edward Grey said that “the lamps are going out all over Europe; we shall not see them lit again in our lifetime”, a programme of John Tavener’s music provided the perfect soundtrack for quiet remembrance.
A triumphant return to the Proms for the John Wilson Orchestra with the original 1948 version of Cole Porter's great musical.
A small Austrian town tucked almost against the Swiss and German borders on the magnificent Lake Constance, Bregenz has claimed a place on the cultural map.
Two generations after their record sank without a trace, Donnie and Joe Emerson’s music has finally found the teenagers it was written for.
Feelgood gag-and-punchline stand-up is bigger than ever, but a certain stratum of comedians have already moved on to a place where the audience is laughing inside rather than out, or not at all.
Disciplined it might be, but military music is awful. Luckily, there's greater depth to this season than a first glance suggests.
Two of the standout London productions of this year are the scorching version of The Crucible at the Old Vic and the Young Vic’s brilliant rethinking of A View from the Bridge.