This exhibition is a thoughtful examination of an aspect of Barbara Hepworth's work that has long been under-appreciated. Bringing together twenty of Hepworth's abstract sculptures and thirty drawings, it focuses on her innovative use of colour to transform the internal spaces of her sculptures into expressive elements in their own right. As war broke out, Hepworth moved with her husband, Ben Nicholson, to Cornwall. With her preferred materials in short supply, she increasingly turned to plaster, using paint to animate and define the interior surfaces of her sculptures. Richly coloured interiors are often accentuated by strings of contrasting shades, creating a dynamic interplay between surface, space and line. Thirteen of the sixteen painted sculptures Hepworth created during the 1940s are displayed here, although the exhibition also extends into works produced during the 1950s and 1960s. The two-gallery presentation on Floor 3 is complemented by photographs of Hepworth and Ni...

Writer Itai Erdal takes on the controversial Israeli-Palestinian question from a unique perspective. A secular Jew who grew up in Israel and served in the Israeli army, he brings an insider’s understanding to a subject many people prefer to avoid. His performance, however, feels more like a lecture than a play. Erdal presents a history of the Middle East and, through a series of personal anecdotes and observations, creates an emotional connection to the broader narrative. His accounts of military service carry an authenticity that is deeply moving, and his reflections about his nephew, who may become part of the next generation of soldiers, make the intractability of the situation very real. Because of his Israeli and Jewish credentials, Erdal is able to express perspectives that many would hesitate to voice, and his narrative raises some profound questions about politics, identity, and public discourse. While it seems possible to disagree with President Obama’s policies without being ...

This superb exhibition traces the career of the innovative and irascible James McNeill Whistler, introducing visitors to one of the most original artistic minds of the nineteenth century. His personal history was as distinctive as his art. Born in America, raised partly in Russia, trained in Paris, and settled in Britain, he was a cosmopolitan figure whose experiences informed a career that defied easy categorisation. The presentation succeeds in bringing to life both the man and his work. Visitors encounter the romantic figure of the artist in bohemian Paris, the combative personality who pursued a celebrated libel case against the critic John Ruskin, and the often difficult individual whose relationships with patrons such as Frederick Leyland and contemporaries were frequently marked by conflict. Yet it avoids reducing Whistler to his controversies. Instead, it reveals that beneath the volatile temperament lay a serious, intellectually engaged artist whose commitment to aesthetic inn...

The theme of the 258th Summer Exhibition, “Interconnectedness,” makes tracing links between the works on display both a fascinating and at times overwhelming experience. While this year’s works on view appear to contain less overt political commentary and fewer instances of humour than is often typical of such events, both are still present in striking moments. Tim Shaw’s powerful portrayal of Donald Trump and Vladimir Putin in Pin It On Them (Associated Artwork From the Installation: Shut It Piggy) (555) can be juxtaposed with the playful absurdity of Joey Rutherford’s Pickle With a Pearl Earring (1110) , reminding viewers of the range of tones running through the exhibition. Alongside these, there are the usual charming animal representations, including our favourite, the highly realistic cat in Thus Regard Palmerston (793) , as well as the standard attempts to shock and provoke, such as Tracey Emin’s There Is An End To Everything (674) . The collection continues to move between cur...

Inspired by a real historical incident, the new musical Redcliffe tackles an issue that remains relevant today: the criminalisation of consensual homosexual relationships, which still exists in many countries. Between 1752 and 1753, William Critchard and Richard Arnold were accused of sodomy, an offence punishable by death in Britain at the time. Their story survives through contemporary newspaper accounts and a rare witness statement uncovered in the Bristol archives in 2023. In bringing this material to the stage, Jordan Luke Gage, who wrote the book, music and lyrics, takes considerable liberties with the historical record. Arnold was a publican in his sixties and Critchard a twenty-four-year-old footman when the two men were observed together in a private room at a Bristol alehouse. Dramatic licence is not in itself a problem, but while the details have been reshaped, the characters at the centre of the story never become fully realised individuals. The principal weakness of Redcl...

Set in Trinidad on the eve of independence from Britain, Driftwood explores a society in transition. Change is everywhere, not least at ALMA, the gentlemen's club run by Pearl and her daughter Ruby. The club is owned by Mansion, an Englishman preparing to return home, and his departure coincides with the arrival of a mysterious young stranger whose secrets threaten to upend the lives of everyone around him. The performances are uniformly excellent. Ellen Thomas delivers an outstanding portrayal of Pearl, a resilient survivor forced to disavow her own child in order to endure. Thomas completely inhabits the role, creating a formidable exterior whose rare moments of vulnerability carry real emotional weight. Equally compelling is Martins Imhangbe, who brings swagger and intrigue to the enigmatic newcomer whose arrival compels Pearl to confront the consequences of her past choices. Cat White is also impressive as Ruby, the pragmatic seductress determined to navigate a rapidly changin...

Allegra hears music everywhere. At the most inappropriate moments she bursts into song, much to the embarrassment of her long-suffering brother, Ronen. Concerned for her welfare, he hires a housekeeper to look after her, but Allegra's irrepressible enthusiasm continues to land her in hot water with neighbours, authority figures and eventually the police. The play asks whether Allegra's sunny, unconventional outlook is really the problem, or whether the fault lies with a society that has little patience for those who refuse to conform. Stories of the "wise fool" have a long literary pedigree, stretching from Erasmus' Praise of Folly and Cervantes' Don Quixote through Dostoevsky's The Idiot to Kesey's One Flew Over the Cuckoo's Nest . Peter Quilter's Allegra most closely resembles Elwood P. Dowd from the 1950 film Harvey : a gentle, optimistic soul whose very existence challenges the values of a joyless world. This is familiar territory, and t...

Originally produced on Broadway in 1945 and arriving in London three years later, Dark of the Moon has now been revived as a musical, featuring songs by Lindy Robbins, Dave Bassett and Steve Robson. The story revisits the well-worn territory of star-crossed lovers. Barbara Allen, a young woman from a close-knit Appalachian community, falls in love with and marries John, a witch-boy. As suspicion grows among her family and neighbours that John is not fully human, the couple find themselves increasingly isolated. John has struck a bargain with the Conjur Woman: if he and Barbara remain faithful to one another for a year, he will become human. But the witches have other ideas. If John leaves their ranks, the coven will lose its quorum. The battle lines are drawn and tragedy seems inevitable. The problem is that the narrative unfolds with little surprise. Familiar material can still feel fresh when elevated by an original interpretation, exceptional performances or a memorable score. Leon...

Georgie Dettmer’s debut work assembles a mosaic of stories centred on society’s obsession with images: their creation, consumption, manipulation and abuse. Many of the narratives carry a sexual charge. At its heart is a story clearly modelled on the Gisèle Pelicot case, in which a husband drugged his wife and filmed her repeated sexual abuse by other men. Around it swirl other tales: an actress appearing in a film about that case while becoming the victim of deepfake pornography herself; a kidnapped child narrative that inevitably recalls Madeleine McCann; a supposedly scientific study of sexual response dependent on video technology; and a father using AI to alter images of his son. Framing everything are two young girls whose fascination with the material mirrors the audience's own uneasy attraction to such content. The acting is superb throughout. Maimuna Memon and Lucy McCormick display astonishing versatility, moving effortlessly between characters and emotional registers. The...

To mark what would have been Marilyn Monroe’s 100th birthday, the National Portrait Gallery has mounted an exhibition exploring the actress’s enduring place in popular culture. While tracing the chronology of Monroe’s life, the exhibition interweaves her story with the ways in which artists and photographers have interpreted and presented this most elusive of icons. Photographs by Cecil Beaton, Richard Avedon and many others attempt to capture the fascination she exerted, while works by Willem de Kooning and Andy Warhol demonstrate how her image transcended Hollywood to become the raw material of modern art. Mesmerising clips from her films provide a reminder of the charisma that first made her a star. More than six decades after her death in 1962, Monroe remains a singular presence in the collective imagination. Other celebrities have enjoyed their moment in the spotlight and faded, but her allure endures. There is the classic rags-to-riches narrative, shadowed by an inability to find...