Only Leonard Bernstein, who was born 100 years ago this year, had the verve to turn Voltaire into musical theatre, as a new production of Candide amply shows.

The two latest openings at the National Theatre, 'Nine Night' – a debut play by Natasha Gordon – and Rodney Ackland's 'Absolute Hell' – turn respectively on metaphors of Heaven and Hell.

The emotional reticence of an entire generation seems compacted into the scene in On Chesil Beach in which Florence, played by Saoirse Ronan, makes a panicked perusal of a sex manual.

Giles Fraser on the ethics of giving to charity.

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José Padilha's film seeks to represent all sides in the Entebbe hostage crisis, but it fails to involve and at the very last shoots itself spectacularly in the foot.

David Nicholls' adaptation of Edward St Aubyn's Patrick Melrose novels never loses sight of the central character's pain.

For Rodin and the Art of Ancient Greece (until 29 July), the British Museum has borrowed famous works by Auguste Rodin and juxtaposed them with sculptures from the pediments and friezes of the Parthenon.

John Webster’s bloody revenge drama, the Duchess of Malfi, gets a modern make-over that leaves both cast and front rows dripping red in this Royal Shakespeare Company production directed by Maria Aberg.

Reflections on that upcoming wedding between Prince Harry and Meghan Markle

Sharp work at the cutting edge of opera: Janacek's 'The Diary of One Who Vanished' and Osborn's 'The Mother'

Comedian Daliso Chaponda has some fun with white guilt as he examines Britain's relationship with Africa.

Corita Kent, the Pop Art nun, is one of those artists (most of them are women) who is well known to every art historian, but completely unheard of to almost everyone else, including regular gallery-goers.

Loss and control in twenty-first-century parenting: couple create robot son, in Thomas Eccleshare's new play.

Historian Chris Harding's meditative travelogue on the 2011 tsunami that devastated Japan.

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