The Hayward Gallery has re-opened after two years of closure for a refurbishment. Except on the top floor, which now has those conical skylights in place that Henry Moore recommended be put in at the beginning. Now they are in at last, and we have the beneficence of natural light streaming down – which is a welcome addition.
Kathy Burke directs this second major production in the year long celebration of Oscar Wilde's work that Dominic Dromgoole and his new company Classic Spring are bringing to the West End. Like their version of A Woman of No Importance, which kicked off the season, this revival helps to rejuvenate the play by some sparky casting and by pouring real feeling into the creaky melodramatic conventions from which Wilde, in his first West End foray, was unable to free himself. If Lady Windermere's Fan is not as good a play, it similarly demonstrates the author's shrewd empathy for the position of women and for the sacrifices and accommodations forced on them by polite society.
Was there really much in common between that consummate, wax-moustachioed showman Salvador Dali and the cerebral, secretive Marcel Duchamp, founding father of conceptual art, and inventor of the idea of the ready-made? Things will be a little easier next year, when the Royal Academy finally expands into the space once occupied by the old Museum of Mankind on its 250th birthday.
English National Ballet's Romeo and Juliet is full of things that don't fit. Rudolf Nureyev's production has bright ideas that don't find satisfying theatrical shape, while this revival has been squeezed onto the ballet-unfriendly stage of the Royal Festival Hall. The revival marks the 40th anniversary of Nureyev's 1977 staging.
Just as the Park Theatre is presenting the posthumous premiere of Kevin Elyot's play Twilight Song, the King's Head offers us the first London revival of the dramatist's debut piece, originally seen at the Bush in 1982. Adam Spreadbury-Maher's production headlines the theatre's 2017 Queer Season.
This huge show is both a visual presentation and a densely worked, heavily documented argument. It is the story of the emergence of the black art of America during the fraught, politically contested era of 1963 and on. It takes in movements, key historical moments across the nation – the death of Martin Luther King (his soaring voice greets us as we walk into the first room), the Watts riots in Los Angeles, the emergence of the Black Panthers – and it shows us the art which emerged as a direct consequence of the struggle to create a black voice, a black identity.
Adjacent to its Parisian headquarters, Chloé has unveiled a new cultural space, a five-floor home which will see a programme of exhibitions and events showcasing the company's 65-year history. The first temporary exhibition, 'Femininities' – which is open now – focuses on Guy Bourdin, the photographer behind the greatest number of editorials featuring Chloé clothes. Scroll through to see a preview of the imagery in the exhibition and prepare for many more unseen images and clothing from the archive if you have the chance to see the exhibition in Paris.
Daniel Kehlman is not a name to conjure with in this countr,y but in his native Germany his novels have apparently knocked J K Rowling and Dan Brown off the top of the best seller lists. The production began life at the Ustinov Theatre in Bath, where Laurence Boswell has demonstrated an extraordinary flair for picking up on European talent barely known over here. The American actor F Murray Abraham – Oscar winner for Salieri in Amadeus and the CIA black ops director in several seasons of Homeland – has been lured back to the British stage for the first time since he starred as Shylock for the RSC a decade ago.
London’s Victoria and Albert museum has played host to some of the greatest fashion exhibitions of the past decade; from 2013’s David Bowie (which sold 311,956 tickets), The Hollywood Costume show in 2012 (251,738 tickets) and, of course, Alexander McQueen’s Savage Beauty expo that raked in half a million visitors.
“Wow, that’s brilliant,” exclaims a tourist, cooing over my boyfriend’s easel, as we stand side-by-side painting the view outside’s Mayfair’s Connaught hotel. Who knew that a five-star art course would be the activity that pushed my previously happy relationship to the brink? In contrast, Terence, my beloved, spent his teens mooning moodily about an art room, and has been known to whip out a sketch pad while on hols.
For centuries, humanity has relied on the science community to tell the objective truth about the world around us. In her new book, Inferior, science journalist Angela Saini paints a disturbing picture of just how deeply sexist notions have been woven into the fabric of scientific research – and how they are still being perpetuated within the science community today. Armed with a heavy arsenal of data, Saini provides a gripping and much-needed account of how even the most impartial fields of scientific study have for centuries fallen prey to the biases of the patriarchal foundations they have been built upon.