The word “shrine” somersaults me back to the path of the Camino de Santiago. I have lost count of the faces that smiled up from photos positioned in the hollow of trees, some with little plastic figurines for company, others set in stone next to a sculptural pile of pebbles. Some of the shrines also sheltered a handwritten prayer or a crucifix; most had burnt-out tea-candles.Phoebe Powers imagined her debut poetry collection, Shrines of Upper Austria, “as a shrine: a gathering of objects, words and images important to someone, both as discrete objects and as a composition”. Her second poetry Read more ...

Uncut, lovingly restored, and with two intervals in the antique manner, Ethel Smyth’s The Wreckers invites its audience to embark on an epic voyage as well as a momentous one. This summer’s Glyndebourne Festival visit to the Proms brought us the rediscovered opera about a pious, paranoid community of Cornish ship-scavengers that the trail-blazing Smyth – who judged it her signature work – laboured over for several years before its premiere in Leipzig in 1906.Glyndebourne gave us the original French-language version with a somewhat florid libretto by Smyth’s collaborator (and sometime lover) Read more ...

Period drama from Australia is something of a rarity on our televisions, so The Newsreader scores for novelty alone. It’s not startlingly innovative in form, but it does what it sets out to do in a highly satisfying way. Which is to tell a tale of everyday misogyny, racism, homophobia and backstabbing in the Aussie television industry of the mid-1980s.Running throughout are regular datelines, starting with the weekend of the Challenger disaster in February 1986 and progressing through to Chernobyl the following April. This timeline isn’t just adding handy topical references: these are the Read more ...

Derived from Delia Owens’s massively successful novel, Where the Crawdads Sing is the story of Kya Clark, a girl from an abusive, broken home in the North Carolina marshlands who raises herself almost single-handedly. The few people she encounters during her strange, isolated development from battered girlhood into a fragile young adult dismiss her mockingly as “Marsh Girl”. It’s only the kindly black couple who run the general store in Barkley Cove who take any trouble to get to know her or show any concern for her welfare (pictured below, Sterling Macer Jr as Jumpin' and Michael Hyatt as Read more ...

“At all times, the film-makers have attempted to present an accurate portrait of the events depicted and the people involved.” The on-screen statement beginning each of Get Back's three parts acknowledges that definitions of accuracy can depend on points of view.And the point of view with director Peter Jackson’s interpretation of the 60-plus hours of film and over 150 hours of audio from The Beatles’s January 1969 attempts to make a film or television special and an album is his – and those who signed-off the 468 minutes first seen via streaming and now available on Blu-ray or DVD. None Read more ...

Directed by the fraternal duo Anthony and Joseph Russo, who have helmed several of the colossally successful Marvel Cinematic Universe movies, The Gray Man ought at least to be entertaining and stuffed with blockbusterish thrills.And it is, darting around the world as it tells its amusing but wildly implausible story of two battling hitmen. The Russo boys would have a panic attack if anyone accused it of being a work of exquisite sensibility and artistic finesse, but there’s no need to worry on that score.Nothing about The Gray Man (based on Mark Greaney’s novel) is original, and it may even Read more ...

Music plays a big part in the life of Dwight, an 11-year-old black lad growing up in early 80s Leeds. He doesn't fit in at school, bullied because he is "slow", and he doesn't fit in outside school, would-be friends losing patience with him.But he does fit in at home, loved unequivocally by a protective mother, somewhat enviously by a bickering sister, and rather reluctantly by a preoccupied father. Like the records he plays on the gramophone, his life is about to spin – and he'll have to hold on to the warmth of family love in a cold world.Zodwa Nyoni's new play for the Kiln Theatre packs Read more ...

Take an opera newbie along to Opera Holland Park’s double bill of rarities and they may have both their worst fears and their highest hopes confirmed. Outlandish plotting, overwrought melodrama and preposterous, supernatural stage business abounds. At the same time, some gorgeous music, memorable singing and dramatic coups make the whole fanciful spectacle soar and glow. Ecstasy and absurdity join clammy hands. Served together in this way, Delius’s Margot La Rouge and Puccini’s Le Villi offer a kind of small-plate tasting menu from the late 19th-century lyric stage (although the Delius dates Read more ...

After gender-flipping the National’s Malvolio, the director Simon Godwin might have been expected to be equally bold with Much Ado About Nothing at the same address. A same-sex Beatrice and Benedick romance? Dogberry in bondage gear, zonked out on poppers? True, Godwin has been free with the text, cutting freely and turning Governor Leonato into a hotel owner with a wife instead of a brother, but this production is still unexpectedly trad. It’s set in Sicily in “an imagined past”, though looking a lot like Golden Age Hollywood, where Don Pedro and his officers are checking into the Hotel Read more ...

The spirit of Sir Richard Burton loomed large over the Royal Albert Hall last night – a man who wrote about everything from falconry to erotica and whose death-defying expeditions took him across the Middle East, Africa and the Americas. Between 1885 and 1888 he produced a definitive translation of A Thousand And One Nights that galvanised intellectual Europe, not least because its content – which was often as illicit as it was exotic – could only be accessed by private subscribers.Rimsky-Korsakov was arguably the first composer to produce a definitive response to this controversial text and Read more ...

Drama is writing in thin air, its content instantly spirited away into unreliable memory, so if a play is to be revived a quarter century on from its first run, it has to say something substantial about the human condition. Patrick Marber's Closer does so because people are always balancing the need for love with the need for sex, dealing with the gnawing desire for someone just out of reach, wearily coping with the emotional baggage of lives lived badly.And here it is in a 25th anniversary revival at the Lyric Hammersmith directed by Clare Lizzimore: not bad for a play that opened Read more ...

This is the summer, in musical theatre terms at least, of the revival of the revival, with several recent remountings of iconic titles (South Pacific, now in London previews) getting a renewed lease on life, alongside the likes of My Fair Lady, Crazy for You, and Sister Act on hand in or near London to swell the ranks of the familiar yet further.So it's a delight to report that England's own Kerry Ellis – a onetime Eliza Doolittle as it happens – has taken over from Broadway powerhouse Sutton Foster in Kathleen Marshall's transplanted take on Anything Goes for an encore engagement Read more ...