As far as 1960s audiences were concerned, Lionel Bart – famed for the musical Oliver – had lost his “twang” when he came up with the box office flop “Twang!!”, with two exclamation marks. But if the audiences of the swinging sixties weren’t ready, the 21st century theatre-goers of London’s Union Theatre – renowned for alternative, low-budget, high-entertainment musicals – are.
year 2018

Rosie Johnston enters into the spirit of an intoxicating anthology of pub poems mixed by Helen Mort and Stuart Maconie

John Lucas reviews a genuinely interesting collection of essays by Jim Burns – and adds some equally interesting observations of his own

Henry Moore enthusiasts could do worse on this rainy Easter Week than to head for Canary Wharf and see this exhibition, which tells the story of the creation of the Draped Seated Figure, now known as “Old Flo”, and her changing fortunes over the past fifty years.

The title Requiem pour L., if spoken aloud, translates as Requiem for her. Who is the anonymous woman that we see dying onscreen as Mozart’s Requiem in D minor, K. 626, is re-scored?

Camera Eye / I, Camera: Brian Docherty considers Jacqueline Saphra’s poem sequence based on remarkable photographs of and by Lee Miller
One of the joys of the MASP in the Paulista Avenue, Sao Paulo’s equivalent of the Champs Elysees, is that when you pay for entry (every day except Tuesday) nearly everyone else is too busy making or spending money to block your view of old and new masters.
By Barbara Lewis • art, drawing, exhibitions, painting, sculpture, year 2018 • Tags: art, Barbara Lewis, drawing, exhibitions, painting, sculpture