Meditation

Theatre review: Crime and Punishment, Citizens Theatre, Glasgow

The squalor unfolds before us like a wound, the stage stripped back and opened up to the red brick and rusted heating duct bones of the backstage area, the ten-strong ensemble cavorting around the fringes of the action at all times, populating the dive bars and crumbling tenements of 19 century St Petersburg with life and music and threat. At the heart of it all waits destitute former law student Raskolnikov, seemingly without hope or options as he ponders killing his merciless pawnbroker on the other side of the damp-flaked door before him.

Classical review: Jonas Kaufmann, Philharmonia, Rieder, Royal Festival

Verdi or Wagner? Posing the musical question of the year, tenor Jonas Kaufmann answers it by saying that he has vacillated between them, unable to decide whose music he prefers. He finally declares that they are mutually beneficial: "After singing Wagner you have an extra dose of power for the drama in Verdi, and after singing Verdi, it is much easier to sing Wagner, as the composer intended, with Italian legato." It was this latter course that he adopted at the Royal Festival Hall, backed by the Philharmonia Orchestra under Jochen Rieder.

Boyd Tonkin: Is the etiquette of spoiler-avoidance a crime against

Spoiler alert: this column not only discloses crucial details about the denouement of Ian Rankin's latest novel. It identifies the murderer in Agatha Christie's The Mousetrap - now celebrating its 60th birthday on the West End stage. So, if you genuinely care enough, au revoir and hasta la vista.

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Album: David Lynch, Crazy Clown Time (Sunday Best)

David Lynch is the premier outsider renaissance man of his era, his undoubted artistic facility, whether working in film, television, printmaking or now music, always tempered by the realisation that he'll never achieve – nor would he probably want – mainstream success.