13 September 2018 | by Laura Gascoigne

All manner of magic

As an antidote to the venom of our godless age, a new exhibition suggests that in fact we are more interested than ever in the supernatural

13 September 2018 | by D.J. Taylor

Chapter and verse

Spinning poetry from the psalms

13 September 2018 | by Lucy Lethbridge

Family fortunes

Danny Boyle turns his forensically cold gaze towards the mega-rich

13 September 2018 | by Brian Morton

The human touch

Welcome back Canterbury rock

Previous issues

06 September 2018 | by D.J. Taylor

The way we behave now

Pessimism prevailed in Jonathan Sacks’ investigation into morality – but if there is any hope for tomorrow it lies in the young of today

06 September 2018 | by Mark Lawson

Fun for the groundlings

Director Nick Bagnall's entertaining take on Love's Labour's Lost, Shakespeare’s most problematic work

06 September 2018 | by Lucy Lethbridge

Hope out of grief

Nick Leather's drama about the IRA's 1993 Warrington bombing shows how ordinary people find their inner steel

06 September 2018 | by Laura Gascoigne

Eastern scorn

How we looked from the Orient

For one night only, the Royal Albert Hall will next week be transformed into a cathedral: and it’s all thanks to the Tallis Scholars, who are recreating the ancient rite of Compline, the traditional ending to the church day, in a performance that sits somewhere between concert and rite.

In Home, I'm Darling, Judy, a burned-out executive, has become nostalgic for the seemingly simpler life of the 1950s and opted to live with the furnishings, food, and sexual politics of the Suez era.

Having been an early supporter of National Socialism, Emil Nolde hoped the Nazis would make expressionist art the standard bearer for modern Germany, and decided to support them – a decision that would become his double undoing.

Imagine wearing a special bracelet that measured your sweat, motion and heart rate to see if you were telling lies – or at least fudging the truth. This was the fate of three volunteers.

Not since before the Reformation has the stone of Lichfield Cathedral been so richly hued.

Director Lyndsey Turner unleashes the power of Brian Friel's Aristocrats


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