This long, fascinating documentary was apparently intended as the centrepiece of last autumn’s BFI celebration of the films of Michael Powell and Emeric Pressburger. But Made in England was delayed while Martin Scorsese (executive producer, presenter, and narrator) and his editor Thelma Schoonmaker (Powell’s widow, who also gets a credit as an executive producer) put the finishing touches on Killers of the Flower Moon. 

One can often be made to feel old in the theatre. A hot take in a snappy 90 minutes (with video!) on the latest Gen Z obsession (is it even Gen Z, or were they last year, Daddio?) can leave one baffled or wondering whose gripe is it anyway. Sometimes the new blood feels like an exotic Type AB negative, when we’re boring old O positive and the transfusion is rejected.

History is very present in Philippa Gregory’s new play about Richard III. Literally - History is a character, played by Tom Kanji. He strides around in a pale trenchcoat, at first rather too glib and pleased with himself, but quickly sucked into the action as Richard’s life plays out in front of him. If only Katie Posner’s production, which started at Shakespeare North Playhouse and is now at the Theatre Royal Bury St Edmund’s, could draw us in so powerfully.

Shakespeare’s plays have ever been meat for masher-uppers, from the bowdlerising Victorians to the modern filmed-theatre cycles of Ivo Van Hove. And Sir John Falstaff, as Orson Welles proved in Chimes at Midnight, can be the star of his very own remix, bestriding three plays and dying offstage in a fourth. 

Sam Taylor-Johnson has fashioned her biopic of Amy Winehouse with great care and affection, but sometimes, as she shows her subject discovering, love isn’t quite enough. 

Many an Edinburgh Fringe transfer has struggled when it moves to the big city, but the Dirty Hare company’s Gunter, sensibly embedded in the Royal Court’s intimate Upstairs space, has settled in nicely, thanks.

In September 2022 I had an email from my American friend Richard Nelson: "Would you like me to write you a play?" Such an offer probably comes the way of very few actors and I was bowled over by it. My astonished and grateful response was tempered with a little uncertainty.

In a Dagenham hospital, Silver Haze’s compassionate nurse Franky, played by Vicky Knight, meets Florence (Esmé Creed-Miles), who’s been admitted as a patient for having attempted suicide. After Franky dumps her boyfriend, the two women begin a tempestuous affair – or is that a tautology?                   

I first read Anne Gunter’s story about five years ago, when I was in my first year of university at Oxford, little knowing it would over time lead to our play Gunter [seen first in Edinburgh and transferring 3-25 April to the Royal Court].

Benjamin Britten’s last opera Death in Venice (1973), adapted from Thomas Mann’s novella of the same name (1912) and the subject of one of Visconti’s later, most celebrated films, explores homoerotic attraction, the nature of beauty and the inescapable presence of mortality.