Theatre Under Their Hats Northcott Theatre, Exeter

Flanders and Swann brought sophistication to the comic song. They didn't have the irony of Coward, although they could pack a punch, as in "Twenty Tons of TNT". Under Their Hats draws output not only from their two-man shows, but from material they wrote for intimate revues of the Fifties, for Moira Lister and Max Adrian and the Scottish bass Ian Wallace.

The artist, his mistress, her lover

Augustus John's romantic life has long been the subject of speculation. But one mystery that has never been solved is the identity of his rival in love, the shadowy Leonard B. Michael Holroyd sifts the evidence

Tourists become pawns in Belgium's separatist war

Industrial decay is no match for Flemish splendours, reports Sarah Helm in Brussels

War memories widen Belgium's communal rift

SARAH HELM

Letter: The debt we owe Tyndale

MAY I add a correction or two to those already made (Letters, 28 January) to the article about the Tyndale version of the Bible.

Shot at dawn, but her war goes on

Irma Laplasse was executed for betraying Belgian resistance fighters to the Nazis to save her own son. Today her case is reopened - and so are many old wounds. Sarah Helm reports

MUSIC: It ain't over till the fat man's hanky song

THE bottom-line demand of Turandot is for two acts of romantic, oriental schmaltz to keep the audience happy until "Nessun Dorma" - but Christopher Alden's production for English National Opera offers nothing of the sort. Set starkly against lurid, neon-lit designs and corrugated surfaces (with the whole of Act 1 contained by a wall of mug-shots of the princely victims looking like a rent boys' gazetteer), the tone is rigorously anti-romantic; and it culminates in a final scene where Turandot and Calaf not only fail to kiss but end up on different sides of the stage, ignoring each other. It's as though Alden refuses to accept the possibility of love between these characters; as though the riddles, challenges and conquests are nothing more than a self-proving game of Russian roulette where the most you can expect is survival. In short, this is no Turandot for traditionalists - or for football fans in innocent pursuit of what the fat man's hanky song is all about.

Anderlecht win Belgian title fight

In a desperately close finish to the Belgian championship, Anderlecht emerged from a three-way race on the final day of the season to claim the title ahead of Standard Liege and Club Bruges.

Walloon woes spawn politics of hatred

FROM SARAH HELM

Holy fool who creates an unholy mess

Classical Music

Verheyen leaves it late to breach Blues' defences

FOOTBALL: Chelsea suffer first defeat of European campaign in Belgium

Chelsea seek good conduct

Chelsea yesterday insisted that their fans will "restore some English pride" at next week's European Cup-Winners' Cup quarter-final first leg against Club Bruges in Belgium. The match - an 18,000 sell-out - is the first overseas excursion by English supporters since last week's events in Dublin.

Stay intact with devolution

Local power has made some countries more affluent, writes Leonard Doyle

Departures: Bruges antiques

The 11th Bruges Antiques Fair begins next weekend, and visitors to the Belgian city can qualify for half-price air travel. If you book a two-night package, price pounds 86, you are entitled to a 50 per cent cut in economy or business-class fares on Sabena to Brussels.

THEATRE / The first casualty of war: Paul Taylor reviews The Big Picnic in Glasgow

Bill Bryden's The Big Picnic is a moving experience in more ways than one. A technically audacious First World War spectacular, it's performed in the vast abandoned engine shed of the Harland and Wolff shipyard in Govan, Glasgow. Here, in the apposite atmosphere of a bleak industrial machine, the audience literally follows the young Pals Brigade of Govan volunteers to Flanders and through the inhumanities of trench warfare to their massacre in 1917. You go on the journey either as a promenader or as a sedentary passenger on the mobile seating that slides back and forth down the 250ft nave of scaffolding within which the designer, William Dudley, has recreated the muddy, smoky wasteland of the Front.
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