When does a robot become indistinguishable from a human? McEwan’s latest novel offers one answer – when it sleeps with your girlfriend.
The National’s revival of the 1982 play reminds us of the compromises that women make to survive in a world built for men.
In her performance as John Proctor, Caoilfhionn Dunne’s gender felt irrelevant – wonderfully so.
Chiwetel Ejiofor speaks to Helen Lewis about his directorial debut, The Boy Who Harnessed The Wind.
Plus: I’m a Phoenix, Bitch by Bryony Kimmings.
Plus: Berberian Sound Studio at the Donmar.
Plus: Six, the musical about Henry VIII’s wives.
Cate Blanchett's National Theatre debut shows the difference between spank-me-harder clichés and words which are truly wounding.
From endless Arthur Miller to the National’s sell-out Cate Blanchett vehicle, the forthcoming year in theatre.
Policy-making decisions must have their wider social, as well as economic, impact taken into account.
Hadestown turns the myth of Orpheus and Eurydice into a folk-opera with New Orleans jazz influences.
In her autobiography, Michelle Obama shows she is adept at weaving together the personal and political.