Vardimon's multimedia epic '7734' bridges cultural divides

Jewish artists who present Wagner's operas can have a tough time – from Jews who remember the Holocaust, and from their own consciences. But for Israeli choreographer Jasmin Vardimon – now animating Covent Garden's production of Wagner's Tannhäuser – this ethical wrestle is nothing new.

Une Flûte Enchantée, Bouffes du Nord, Paris

Brook's magic dust lights up a classic

Fabrication is debut play at Notting Hill's The Print Room

A new theatre opened this week in West London's Notting Hill. The Print Room is co-founded by theatre director Lucy Bailey, who directs the UK premiere of Italian film-maker Pier Paolo Pasolini's stage play Fabrication.

Bond's return to the big screen slated for 2012

James Bond fans have been given renewed hope that filming is to start again on the latest installment of the 007 franchise in the New Year.

Marilyn Monroe: FragmentsEdited by Stanley Buchthal and Bernard Comment

Last week, Damien Hirst's former flat-sitter defended his attempt to exhibit the artist's old diary by stating: "I thought it was an interesting historic artefact". Unsurprisingly, Hirst thought otherwise. Reading Marilyn Monroe's intimate musings in this long-awaited collection, one cannot help but wonder whether Monroe would be similarly mortified, or whether these papers are precious "historic artefacts" which should be published regardless. Of course, there are differences between the two cases: Hirst's diary fell into his flat-sitter's hands by accident while Monroe bequeathed her possessions to the eminent acting teacher, Lee Strasberg, whom she trusted implicitly and who held on to them until his death. It was his widow, Anna Strasberg, unacquainted with Monroe, who sold scores of items at the famed Christie's auction of 1999. She has now offered up hitherto uncatalogued "fragments" of Monroe's diary notes, poems, letters, lists, for public consumption. The book's editors are sure Monroe would have approved: "We have shared their (Anna Strasberg and her sons') desire to create a book that, we would like to think, would have pleased its author."

MacCorkindale, star of 'Casualty', dies of cancer

The actor Simon MacCorkindale, who for six years appeared as Dr Harry Harper in the BBC drama Casualty, has died of cancer.

Digital Digest: 11/10/2010

The Best Of The Web

Tom Sutcliffe: Don't put your novel on the stage

The week in culture

Diary: Vettriano's temazepam years

Scottish painter Jack Vettriano has never quite earned the respect of the critical establishment, despite being one of the country's most (financially) successful artists.

I'm so very revived these days, my dear: Why Noël Coward is back in fashion

Very fashionable, Coward. And suddenly so very contemporary, with productions simply all over the place.

Lymington: The town that's 'too posh for Argos' turns against JD Wetherspoon's pubs

It is not often you are greeted by a man in a top hat and waistcoat when alighting from a train. But perhaps it should be no surprise that the station master at Lymington is dressed as grandly as the Fat Controller. After all, this is the place with the reputation of being "too posh for Argos".

Clive Donner: Film and television director best known for 'The Caretaker' and 'What's New Pussycat?'

Clive Donner directed for both film and television, and his work includes some "swinging London" comedies. But his lasting legacy includes perhaps the definitive versions of Pinter's The Caretaker and Geoffrey Household's Rogue Male.

Equitable in final push for member compensation

The chief executive of Equitable Life made a last-ditch bid yesterday to persuade ministers to honour a manifesto commitment to fully compensate victims of the collapse of the life insurer.

John Travolta extortion case charges dropped

Charges against two people accused of trying to extort money from John Travolta after the death of his teenage son in the Bahamas were dropped by a judge today.

All the Globe's a stage – even for women writers

As Shakespeare's theatre opens its doors today for the first time to a play by a female writer, Rachel Shields reports on a wider theatrical revolution
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