Film stars will see their make-up artists in a different light following the opening of a new exhibition in November. Tom Smith began his caricatures of Jack Nicholson (pictured below), Ingrid Bergman, Sean Connery, Bing Crosby and Laurence Olivier to while away gaps between takes, but his sketches have become a collection of the cream of Hollywood. Smith has worked for most of the major US studios, starting on David Lean's 1948 film, Oliver Twist. In 1992, he won a BAFTA special award for his work as a make-up artist; now he is using a more conventional medium, with an exhibition at the Museum of the Moving Image, South Bank, London, from 1 November.

The title means "Sensitive New Age Guy", and that is the real snag to this one-man show about Lloyd, a hardbitten advertising executive who joins a "men's liberation group" after finding his wife in bed with his twin sister. Remember men's liberation? We were all meant to sit around with Laurence Olivier's son, Richard, eating berries and howling. It was part of the caring-sharing Nineties that never were. In 1996, it's hard not to feel that it's a paper tiger. Not that Tobsha Learner's script doesn't have large doses of charm, especially as performed by New Zealander Mark Hadlow. Hadlow illuminates Lloyd's unsteady progress to sensitivity with flashes of sadness among the laughs, and he's so confident of his material (having performed SNAG over 200 times Down Under) that he breaks off to banter with the audience without ever losing the thrust of the narrative. The effect is warm and winsome. Just don't expect to have your consciousness raised.

THEATRE

Television's love affair with costume drama continues with the announcement that Carlton is undertaking a new pounds 4m production of Daphne du Maurier's romantic novel, Rebecca, currently shooting in England and the south of France. In this four-hour adaptation by Arthur Hopcraft (Tinker, Tailor, Soldier, Spy), the ever-smooth Charles Dance (was he born in a white linen suit?) plays Maxim De Winter, with Diana Rigg as his housekeeper Mrs Danvers and Emilia Fox as the second Mrs De Winter. The real ace in the hole for the producers, however, is Oscar-winning American star Faye Dunaway (right) as the well-to-do New Yorker, Mrs Van Hopper. Whoever's in it, though, it will do well to match Hitchcock's classic 1940 version starring Laurence Olivier and Joan Fontaine.

Seventy years to the day that Norma Jean was born, we continue to puzzle over her true identity. But like the controversy over her death, our not knowing is the source of her eternal appeal.

Yeats painting breaks auction record

Loving, gentle, strict, detached? What should fathers be - and do we even need them? Jerome Burne looks at the conflicting theories and talks to two sons of famous absent fathers

CLASSIC FILM COLLECTION: When love ruled the world: a film buff's guide to Brief Encounter

The Morgan is a romantic of the road, as Anna Blundy found when she took one out for a drive and found admiration wherever she went

This week in London sees a rare theatrical event, a new production of Shakespeare's Othello.

Jim Dale's career story would make a convincing 'Carry On' film: from comic to pop idol to Broadway star. Now he's a youthful 60 but he's still so ... well, rude

BY DAVID LISTER

I AM distressed to learn from Robert Butler's article ("Back to the Scene of the Rhyme", Review, 2 July) that in my book Theatres of Memory, I "dismissed" the new Globe Theatre as "a resurrectionary folly". That wasn't my intention. I was using "folly" in an 18th-century sense, to denote an architectural extravaganza. I was moved at the thought - discussed in my book - that the young Sam Wanamaker might have got his inspiration from the magnificent opening sequence of Laurence Olivier's Henry V, which shows the play being performed before Elizabethan groundlings.

The youngest son of Laurence Olivier spent agonising years trying to come to terms with his father's greatness. Now he has; and, he claims, it's made a man of him