The first rule for brown people, says the main character – played by BAFTA-winner Adeel Akhtar – in this highly entertaining dramedy, is not to let white people know how badly non-whites treat each other. This provocative statement comes towards the end of Shaan Sahota’s debut, The Estate, and with hilarious irony it perfectly describes the main vibe of the family conflict at the heart of the play.Staged in the National Theatre’s Dorfman space, and one of the final productions programmed by former artistic director Rufus Norris, the play tells the story of a British Sikh politician whose Read more ...

There is a freshness about a show by Youssou N’Dour that never seems to lose its glow. He still has one of the great voices of Africa, a versatile and richly-textured tenor that doesn’t show the sign (at 65) of growing old and tired.At the Roundhouse, he started the show with one of his most well-known songs, “Immigrés”. Youssou and the Super Étoile de Dakar bounced in with the kind of energy that usually emerges gradually through the simmering build-up of a set. Here, it’s the deep end from the get-go, the high-pitched sabar drums clattering away furiously at the back of the stage, djembe, Read more ...

The auditorium and arena were packed – and the stage even more so, bursting at the seams with players and singers: the perfect set-up for a First Night of the Proms. This is traditionally an opportunity to programme a large-scale choral work, and last night that was Vaughan Williams’s seldom heard Sancta Civitas. Of course it’s seldom heard, with its huge orchestra expanded to include organ, piano and off-stage trumpet, baritone soloist, massed choir behind the orchestra and children’s choir in the gallery – plus a blink-and-you-miss-it tenor solo at the end that must command the highest Read more ...

What am I, a philosophical if not political Marxist whose hero is Antonio Gramsci, doing in Harvey Nichols buying Comme des Garçons linen jackets, Church brogues and Mulberry shades? It’s 1987 and I do wear it well though…Chiara Atik’s comedy crosses the Atlantic bearing prizes and venom and could hardly have fetched up anywhere more suited than leafy Richmond’s Orange Tree Theatre. A once Lib-Dem / Conservative marginal seat has swung decisively to the former and seems unlikely to swing back rightwards any time soon. In the programme, the playwright says she wants “to challenge us… to take a Read more ...

Well, I wasn’t expecting a Dylanesque take on "Oh, What a Beautiful Mornin'" as an opening number and I was right. But The Zim, Nobel Prize ‘n all, has always favoured The Grim American Songbook over The Great American Songbook and writer/director Conor McPherson’s hit "play with music" leans into the poet of protest’s unique canon with his international smash hit, now back where it all began eight years ago.It remains a curious and unique piece, at once overly familiar (take you pick from Williams, Steinbeck, Miller or even Chekhov as inspirations) but also continually surprising. The songs Read more ...

A mixture of legal drama, medical mystery and psychological thriller with creepy supernatural overtones, Insomnia sometimes seems to be trying to cram too much in, but it’s well worth sticking with it to the end to reap the full benefits. Not the least of its strengths are its classy production values and an excellent all-round cast, with Vicky McClure in the lead role of high-flying City lawyer Emma Averill, Leanne Best as her sister Phoebe, and Lyndsey Marshal throwing any number of flies into the ointment as Caroline Mitchell.Emma and her husband Robert (Tom Cullen) have two children,18- Read more ...

“Bob’s not the kind of guy you can say no to,” said Sting, reminiscing about the origins of 1984’s Band Aid charity single “Do They Know It’s Christmas?”. “He’s persistent.”He spoke, of course, of Bob Geldof, then best known as the singer with Dublin band the Boomtown Rats, but destined to be remembered as the driving force behind Band Aid and the subsequent massive Live Aid concerts which took place on both sides of the Atlantic in July 1985. Experts believe the shows were watched by 1.9 billion people (onstage at Wembley Stadium, pictured below).The Boomtown Rats had some success on the UK Read more ...

Has Sabrina Carpenter officially conquered London? A year after bestie and fellow Disney alumni Taylor Swift declared the “Summer of Sabrina” stateside, the army of fans clad in pink cowboy hats, bloomers and kiss transfers streaming into Hyde Park would seem to suggest so.There’s no denying that she's managed to position herself as everyone's dream in some shape or form: simultaneously goddess and girl-next-door, vixen and sweetheart. Her Short ‘n’ Sweet London run is a text book display of star power captivating everyone from nine-year-olds to their accompanying dads – albeit for slightly Read more ...

The red, white and blue bull’s-eye on the front curtain at Sadler’s Wells tells us we are in the familiar territory of Pete Townshend’s rock musical about teenage angst in 1960s Britain. What follows isn’t so easy to recognise.Quadrophenia started life in 1973 as a double album, and six years later became a film; now it’s a contemporary dance piece with an outstanding cast. Yet it seems to be a case of diminishing returns.The powerful vocals of its songs are silenced, with just a heavenly choir in the closing numbers representing a human presence. And the thrilling axeman chords  Read more ...

Alfred Brendel’s death earlier this month came as a shock, but it wasn’t unexpected. His health had gradually deteriorated over the last year or so, and I was fortunate to see him just a few days before he died. I visited him for one of our regular film nights – evenings when we’d eat dinner together, prepared by his partner Maria, and then watch a movie. On this occasion we’d decided to take in the recently-made German documentary about Leni Riefenstahl. It struck me that it would be a perfect choice, given Alfred had grown up watching Nazi films in the Zagreb cinema his father had run Read more ...

Aldeburgh offered strong competition for the three evenings of Schubert at the discreetly restored Ragged School Museum, but I knew I had to return for the last event of Pavel Kolesnikov and Samson Tsoy’s third festival here, much as I’d love to have heard Allan Clayton in Britten’s Our Hunting Fathers. And if anything, the three-part all-Schubert programme was even more levitational than I’d expected.The circumstances are unique. Kolesnikov and Tsoy welcome you as if into their home to sit in a close semi-circle for wonders in the schoolroom at the top of the building – now more spacious, Read more ...

Sarah Kane is the most celebrated new writer of the 1990s. Her work is provocative and innovative. So it seems oddly unimaginative to mark the 25th anniversary of her final play, 4.48 Psychosis, by simply recreating the original production, with the original actors and the original production team in a joint Royal Court and Royal Shakespeare Company venture. Sadly this is typical of our reboot culture, which prefers the old to the new, nostalgia over experiment, but it does feel like a wasted opportunity. After all, when David Byrne, artistic director of this venue, was head of the Read more ...