The Cakemaker is Ofir Raul Graizer’s debut feature, and the film must somehow reflect the parabola of the Israeli-born director's life: it’s set between Berlin and Jerusalem, the two cities apparently closest to him, and one of its main subjects – alongside weightier themes such as grief and loss – is food, especially the r

The acclaim of being the first to represent the mid-1980s AIDS pandemic in cultural form was a plaudit that none of those concerned would ever have wished for. With New York as its epicentre, and almost nothing known about the disease that was hitting at the heart of the city’s gay community, such early attempts were tentative, the boundaries between personal and political still rough.

Renée Zellweger already has strong musical cinema form, Her role as Roxie Hart in Chicago garnered her second Oscar nomination. However, playing and singing Judy Garland is a whole different ball game.

Swedish singer Tove Lo appeared at a time when female physical sexuality was being used as a raw, blunt weapon in pop, when porno chic reached an apex in music videos. Half a decade ago was the time of Nicki Minaj’s “Anaconda” and Miley Cyrus’s “Wrecking Ball”, thus Lo’s overt displays of sexual bravado seemed part of the same and she had big hits with songs such as “Habits (Stay High)” and “Talking Body”.  Her output since, however, has proved her sensual agenda to be more than a passing foible.

London’s latest theatre opening brings a stirring revival of Harvey Fierstein’s vital gay drama, which premiered as Torch Song Trilogy in New York at the beginning of the 1980s, the playwright himself unforgettable in the lead, before it opened in London in 1985 with Antony Sher.

Whoever thought of crossing the social conscience of Pride with the sporting acumen of Dodgeball? Out of this unlikely union comes The Shiny Shrimps, a joyous dive into the world of gay water polo.

Identity politics has been around for decades. One of the great things about the Bush Theatre in West London is the fact that it not only stages new plays by a diverse range of playwrights, but also successful recent revivals of modern classics such as Winsome Pinnock's Leave Taking and Caryl Phillips's Strange Fruit.

Described as a "performer-led re-devising’"of Mozart’s 1787 opera Don Giovanni - a tale of an arrogant and ruthless lothario who seduced countess women - Don Jo certainly played around with many of the norms we encounter in both sexual relationships and in the operatic genre.

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in 2

Alun Cochrane Pleasance Courtyard ★★★★