David Leddy is a Fringe institution, a writer and director who magics audiences to faraway places in his shows. Last year, he took them on a macabre midnight journey through an old Masonic lodge.

The French choral-group Accentus focuses on works by Philippe Manoury, mostly based on settings of poems or, in the case of the formidable "Fragments d'Héraclite", a triple-choir setting of the Greek philosopher Heraclitus.

Visual Arts: I went to Barry Flanagan's posthumous show at Waddington Galleries. I thought Barry was a very good artist although I prefer his work prior to the hares. I've also just been to the Henry Moore show at Tate Britain. I think Moore is a great artist but his work has never moved me in the same way as Giacometti or Brancusi. I saw the Turner and Richard Long show also at the Tate. The Turner was my favourite of the three. I thought the Long show was very interesting but not really my thing.

An exhibition of the work of William Turnbull, 88, one of the most important living British artists, opens tomorrow at Waddington Galleries.

Eddie Redmayne is, by common consent, one of the most exciting actors to hit both stage and screen since the auspicious advent of Mark Rylance some 30 years ago. Indeed, it was Rylance who gave Redmayne his first break, casting him as Viola to his own astonishing Olivia in the all-male Twelfth Night that the Globe performed at Middle Temple Inn in February 2002. This staging was designed to mark the 400th anniversary of the occasion when Shakespeare's men crossed the Thames to perform the self-same comedy for the lawyers.

After the death of Humphrey Lyttelton in 2008, the panel show that he had chaired for nearly 40 years, I'm Sorry I Haven't a Clue, temporarily ceased because no one could imagine it without him. Barry Cryer wrote that Lyttelton was "the hub of the show". Jeremy Hardy ruled himself out as a successor on the grounds that "Humph had big shoes to fill and I wouldn't do it".

Dostoyevsky thought that if Christ were ever to return to Earth, we would crucify him all over again. Perhaps so, but it's a safe bet that, before we got round to that, hot fashion designers would be competing to recruit him as poster boy for some major new underwear campaign. High spirituality and low commerce are easy bedfellows these days. This was not the case, though in 1959, which is the date-line for Red, John Logan's new play set in the Manhattan studio of the great Abstract Expressionist artist, Mark Rothko.

By chance, two of the founding fathers of American abstract expressionism were born a few miles apart in Tsarist south Latvia in the pogrom-ridden years before the First World War. Both men were from Orthodox Jewish families, both fostered early ambitions to become rabbis, both were brought to the United States as children. There, however, similarities end. The older man, Mark Rothko, né Rothkowitz, was destined to number among the most famous names in 20th century American art, on a par with Jackson Pollock and Willem de Kooning. The other, Hyman Bloom, né Melamed, had faded into artistic obscurity long before his death at the age of 96.

Even as the dissembling greed of politicians becomes the latest theatre of the absurd in Britain, an exhibition of far greater socio-political depth is being mounted at the Sainsbury Centre in Norwich. The show brings together the work of the legendary artist-performer Tadeusz Kantor, who died in 1990, just after the fall of the Berlin Wall, and that of 16 of Poland's New Wave artists. This is the blue touchpaper for Polska! Year, a series of 200 Polish cultural events in the next 12 months, including shows at Tate Britain and the Hunterian Museum in Glasgow.