Mark Lawson

This stage adaptation of Thomas Harris’s novel, directed by Nikolai Foster and adapted by Gina Gionfriddo, brings Hannibal Lecter and Clarice Starling’s interrogation to Curve in Leicester. Mollie Gallagher and John Partridge give confident, distinctive performances, while Foster uses lighting, tableaux and character placement to create cinematic focus onstage. The production’s live autopsy and intimate Lecter-Starling scenes are particularly powerful, but the Buffalo Bill storyline makes the evening disturbing. Gionfriddo responds by emphasizing the setting’s sexism, expanding the female victims’ agency and foregrounding the story’s warped romantic dimensions.

Jimmy Cricket, the stage name of James Joseph Mulgrew, is remembered as a clean, family-oriented comedian whose career began at Butlin’s and Pontins holiday camps before his peak television success with ITV’s And There’s More from 1985 to 1988. Known for his “And there’s more!” catchphrase, distinctive hats, short trousers and wrong-footed Wellington boots, he also hosted the BBC Radio 2 series Jimmy’s Cricket Team. His comedy drew on his Northern Irish and Catholic upbringing, including letters from his “Mammy” and Irish stereotypes that may now be viewed as offensive. A practising Catholic, Mulgrew received a papal knighthood from Pope Francis in 2015 for charitable work.

Indiana Lown-Collins’s Shakespeare’s Globe production relocates Love’s Labour’s Lost into a fully Spanish world of paella, bullfighting, flamenco and song. Choreographer Carmen Igarza’s energetic movement sequences give the comedy passion and spectacle, with Pablo Egea’s choreographed bullfight and the cast’s performances receiving particular praise. The reviewer objects to the substantial rewriting, especially the addition of Queen Elizabeth I and jokes about her sex life, but finds the production broadly joyful and argues that the play benefits from the force of the wider double-bill concept with Much Ado About Nothing.

Director Benedict Andrews discusses Electra/Persona, a National Theatre production that combines Sophocles’ Electra with Ingmar Bergman’s film Persona. Cate Blanchett and Nina Hoss alternate roles without audiences knowing the casting in advance, creating multiple versions of the same linked work. Andrews explains his interest in grief, masks, role-play and the psychological connections between the two dramas, while defending radical reinterpretations of classical texts. He also connects the renewed interest in Greek tragedy to contemporary wars, debates over law and justice, and what he sees as the decline of American imperial power.

Bill Oddie is remembered for two major television careers: co-writing and starring in The Goodies, whose inventive absurdist comedy attracted large audiences but was dismissed by BBC executives as children’s television, and becoming the signature birdwatcher of Springwatch. The article argues that the BBC’s limited repeats and releases of The Goodies frustrated Oddie and his collaborators. It also examines how Oddie’s lifelong bipolar disorder and depressive episodes affected his work, including his involuntary departure from Springwatch, while acknowledging that difficult behavior sometimes complicated professional relationships.

Media critic Mark Lawson and presenter Nosheen Iqbal examine the BBC’s financial difficulties as licence fee payments decline faster than expected. The discussion considers the broadcaster’s public value, its campaign to persuade audiences to continue funding it, and possible alternatives to the current licence fee model amid growing competition.

Dermot Murnaghan is remembered as a highly reliable and affable broadcaster whose career spanned major UK news networks, including Channel 4, ITV, the BBC and Sky News. His calm authority made him a trusted figure during major breaking events, notably the announcement of Princess Diana’s death. After prominent roles across multiple networks and a long tenure at Sky, he continued appearing on television even after revealing his late‑stage prostate cancer diagnosis, using the platform to encourage early testing. The piece reflects on his professionalism, modesty and lasting impact on British broadcast journalism.

A dual outdoor staging of Love’s Labour’s Lost and Much Ado About Nothing reimagines the plays as sequential stories, enabled through Tom Littler’s careful editing and character merging across a 1939–45 timeline. The continuity deepens both narratives, framing romantic conflicts and Much Ado’s darker turns within the context of wartime trauma. Performances by James Sheldon, Phoebe Pryce, Chirag Benedict Lobo and Matt Pinches are highlighted for adding emotional and comic richness, while Neil Irish’s harbour set supports the production’s fluid transitions. The adaptation’s blend of tragedy and comedy strengthens the dramatic coherence, making the case for the two plays as a unified story.

A theatre review of Tim Foley’s Life Out There highlights its atmospheric portrayal of astronauts confronting isolation, loss and existential questions while journeying toward a potential new Earth. The production interweaves themes of cosmology, ecology and theology, supported by a claustrophobic set design and stylised visual effects. Strong performances and inventive staging contribute to an exploration of humanity’s search for meaning in the vastness of space.

A new production of Richard Nelson’s play Springwood revisits King George VI’s 1939 diplomatic visit to President Franklin D Roosevelt, drawing parallels with modern US‑UK relations and tensions within global alliances. Robert Lindsay’s nuanced performance as FDR highlights both strength and personal deception, while Andrew Havill’s portrayal of the insecure monarch underscores the play’s themes of perception and power. The supporting cast reflects influences from contemporary portrayals of royalty, offering layered interpretations of both British and American political figures.

BBC News’ shift toward prioritising social media platforms has intensified concerns over the relevance and future of Radio 4’s Today programme, already facing declining audiences, internal presenter tensions and criticism over lacking diversity. Leadership scepticism, digital strategy fears and competition from outlets such as LBC and 5 Live deepen uncertainty, while proposed changes in presentation style reflect attempts to adapt to new consumption habits.

Rajiv Joseph’s play Archduke is reviewed as a darkly comic reinterpretation of the events leading to the assassination that triggered the First World War, depicting hunger, illness and manipulation as drivers of radicalisation among young conspirators. The production, directed by Lyndsey Turner at the Royal Court with design by Es Devlin, blends historical resonance with contemporary themes of economic insecurity, nationalism and religious fervour. Strong performances support a staging that explores how alternate outcomes might have shifted history, offering a theatrically compelling but intentionally unreliable version of the past.

Florian Zeller’s modern farce The Truth is revived in a sharply staged West End production that blends physical comedy with reflections on deception and unreliable narratives. Stephen Mangan, Sarah Hadland, Ardal O’Hanlon and Janie Dee deliver standout performances that elevate the play’s twisting structure of lies and contradictions. Lindsay Posner’s direction and Christopher Hampton’s translation reinforce the play’s timeliness amid contemporary concerns about truth and falsehood. The result is a lively, witty and engaging summer production.

A revival of Peter Shaffer’s 1965 farce Black Comedy at the Orange Tree Theatre delivers strong physical comedy built around an inventive lighting conceit that reverses light and darkness. Performances, direction and technical design receive high praise, with standout slapstick moments and effective updates to dated elements. The production highlights Shaffer’s range during his centenary, contrasted with a concurrent revival of Equus, and reinforces the play’s enduring comedic power.

John Morton’s debut play Eclipse uses hyper‑realistic dialogue to explore unresolved family tensions around an unseen father dying under home hospice care in Devon. The production features a strong ensemble cast and evokes comparisons to Alan Ayckbourn and David Eldridge while deepening the emotional and psychological realism of end‑of‑life drama. Morton’s precise writing and direction create a textured, darkly comic portrait of familial strain, with moments of humor giving way to stark confrontation with mortality.

A new Sherlock Holmes stage adaptation by Joel Horwood at Regent’s Park Open Air Theatre blends elements from Conan Doyle’s early novels with later storylines while introducing modern themes such as imperial critique and Watson’s unreliable narration. Performances by Joshua James as Holmes and Jyuddah Jaymes as Watson are praised for bringing fresh interpretations, and the production uses its outdoor London setting to playful effect despite challenging weather conditions.

Predictions and preferences for the 2026 Bafta TV Awards highlight Adolescence as the dominant favourite across major categories, though concerns about voter bias and streaming platforms potentially affect outcomes. Acting categories are highly competitive, with standout praise for Sheridan Smith, Stephen Graham, Owen Cooper and Erin Doherty. Comedy awards appear open, while entertainment and reality categories strongly favour The Celebrity Traitors. Documentary, current affairs and specialist factual categories reflect tensions between legacy broadcasters and streamers. The ceremony is positioned as a barometer of shifts in British television and the growing influence of international streaming platforms.

A dramatization of the conflicted friendship between Arthur Conan Doyle and Harry Houdini explores grief, belief and illusion, with David Haig praised for both writing and performance. Hadley Fraser’s Houdini and the supporting cast add depth as the production blends period suspense with a howdunnit structure under Lucy Bailey’s direction. The play contrasts spiritualist faith with rational skepticism while staging inventive illusions and offering fresh energy to familiar historical figures.

Claudia Winkleman’s new BBC One chatshow has delivered solid ratings but failed to escape comparisons with Graham Norton, whose long‑running format dominates the genre. Limited access to top‑tier Hollywood guests, the declining relevance of traditional chatshows, and the show’s similarities to Norton’s format have constrained its impact. Despite Winkleman’s strengths as a presenter, the series is viewed as a weaker entry in her otherwise successful portfolio, with a second season likely but long‑term prospects uncertain.

A tense docudrama revisits the 1986–87 Wapping dispute, portraying the clash between Rupert Murdoch and union leader Brenda Dean through brisk staging and sharp characterisation. Murdoch’s deceptive tactics, including a fake newspaper, drive the drama, while performances by Alan Cox and Claudia Jolly provide depth to the political and personal stakes. The production explores whether militant unionism was outplayed by Murdoch’s strategy or already weakened by broader Thatcher-era reforms, turning past media conflicts into compelling theatre.

Scott Mills was abruptly dismissed from BBC Radio 2 over unspecified personal conduct issues, a rare and unusually swift move that contrasts with the corporation’s typical suspension‑and‑investigate approach. The decision appears timed to conclude under outgoing director general Tim Davie, with incoming leaders Rhodri Talfan Davies and Matt Brittin set to manage any fallout. The lack of prior internal or external rumours and the speed of termination suggest a decisive legal assessment by the BBC. The article highlights the contrast with slower responses in past scandals, raising the possibility that the corporation may be overcorrecting. Mills’s long broadcasting career, parallel TV work and upcoming projects may be affected, including potential removal of his work from BBC platforms.

A high-energy revival of The Complete Works of William Shakespeare (Abridged) at Bristol Old Vic blends slapstick, scholarship and topical humor while condensing Shakespeare’s works into fast-paced comic performances. Updated references and audience participation complement strong performances by Efé Agwele, Woogie Jung and Tom Pavey, highlighting the enduring appeal of theatrical abridgement and its ability to provide levity during difficult times.

Bafta TV award nominations reflect a shift away from longtime favourites toward newer talent, with Adolescence leading in key categories and Claudia Winkleman emerging as a major entertainment figure. Strong performances by Erin Doherty, Aimee Lou Wood and Sheridan Smith stand out, while several acclaimed dramas, including Unforgivable and Virdee, are notably absent. Concerns persist over the BBC’s diminished role in producing major contemporary dramas as streamers continue to dominate UK-based storytelling. Upcoming ceremonies are expected to heavily reward Adolescence after long delays in recognition cycles.

A new staging of Dylan Thomas’s Under Milk Wood at Theatr Clwyd highlights the work’s darker, more fantastical elements, with director Kate Wasserberg emphasizing mythic and supernatural tones. The production integrates inclusive performance techniques through the Craidd collective, redistributing narration among 11 actors and incorporating British Sign Language and projected text. Strong individual performances, inventive reorganizing of the script, and a vibrant score contribute to an imaginative reinterpretation of the classic ‘play for voices.’

Martin Clunes discusses portraying Huw Edwards in a Channel 5 drama depicting the former BBC newsreader’s fall from prominence to conviction for possessing indecent images of children. He describes the detailed research behind capturing Edwards’s mannerisms, the production’s secrecy, legal constraints ensuring accuracy, and the drama’s unsparing depiction of the offences. Clunes reflects on public perceptions, the limits of redemption in such cases, and the role’s challenges as the film reconstructs Edwards’s professional facade alongside his criminal actions.

The production portrays Leni Riefenstahl in a fictional BBC interview, exploring her evasions over her Nazi past and the moral responsibilities of those who witnessed atrocities but failed to act. Imogen Stubbs delivers a powerful performance that highlights Riefenstahl’s self‑mythologizing while the play captures 1970s British television culture and its willingness to interrogate fascist figures. Though structurally uneven, the work is seen as timely and potentially fit for future transfers.

A stage adaptation of Men Behaving Badly at the Barn Theatre in Cirencester attempts to revive the sitcom’s characters in a millennium‑eve plot but struggles with inconsistent acting styles, stretched sitcom pacing and unclear thematic intent. Strong audience nostalgia is undermined by uneven character interpretations and a script that offers outdated gender dynamics, leaving the production feeling misconceived despite some effective musical interludes.

Misha Glenny’s first episode hosting In Our Time replaces Melvyn Bragg’s long tenure with a cautious, thoughtful discussion of John Stuart Mill’s On Liberty, avoiding direct political parallels amid BBC legal sensitivities. The unchanged format reassures listeners while Glenny’s measured style contrasts with Bragg’s more forceful presence. The transition occurs during broader turbulence at the BBC, including leadership vacancies and charter negotiations, heightening scrutiny of the programme’s new era.