Stage show based on late singer reportedly set to feature her best-loved songs with involvement from her father Mitch

A musical based on Amy Winehouse is in development for London’s West End.

The project is still in early stages with Catherine Schreiber, a Tony award-winning producer (Cabaret, Rent), attached to the project, according to Variety. Casting is reported to currently be under way.

Age-related macular degeneration has also left actor, 91, unable to read or recognise faces any more

Judi Dench has said she can no longer perform on stage or in films because of her deteriorating eyesight, more than a decade after revealing she had been diagnosed with age-related macular degeneration.

“I can’t be on stage. I can’t do a play any more. I can’t do a film any more. I can’t read any more,” the 91-year-old actor told BBC Radio 4’s Today programme on Thursday.

Nation’s favourite play makes London comeback amid renewed debate about future of humanities teaching

The History Boys is to return to the West End for the first time in two decades, with a warning from its director of an “almost terminal decline” in humanities teaching in state schools.

Nicholas Hytner, who directed Alan Bennett’s play at the National Theatre and its 2006 film adaptation, said the themes of education, history and the value of literature for its own sake felt especially relevant amid renewed debate about what schools should teach.

Subject to Change: A Dance for David Bowie will explore how the musician ‘practised a form of artistic reincarnation’, says choreographer Marcos Morau

‘Let’s dance,” sang David Bowie in 1983, commanding: “Put on your red shoes and dance the blues.” That call is to be answered – with footwear TBC – by an international dance production featuring new choral arrangements of songs from throughout his career.

Subject to Change: A Dance for David Bowie will be staged at Sadler’s Wells in London in autumn 2028 after a world premiere in Luxembourg. It will visit Tokyo in 2029. The show will explore how Bowie “practised a form of artistic reincarnation” according to Spanish choreographer Marcos Morau who is taking inspiration from the superstar’s transformations into personas such as Aladdin Sane and the Thin White Duke.

Subject to Change: A Dance for David Bowie will explore how the musician ‘practised a form of artistic reincarnation’, says choreographer Marcos Morau

‘Let’s dance,” sang David Bowie in 1983, commanding: “Put on your red shoes and dance the blues.” That call is to be answered – with footwear TBC – by an international dance production featuring new choral arrangements of songs from throughout his career.

Subject to Change: A Dance for David Bowie will be staged at Sadler’s Wells in London in autumn 2028 after a world premiere in Luxembourg. It will visit Tokyo in 2029. The show will explore how Bowie “practised a form of artistic reincarnation” according to Spanish choreographer Marcos Morau who is taking inspiration from the superstar’s transformations into personas such as Aladdin Sane and the Thin White Duke.

Selina Cartmell announces season including Stockport-set version of Phaedra myth by Simon Stephens

A theatre boss has promised to channel the “pioneering spirit of Manchester” and be “brave and fearless” as she unveiled a new season of work, two years after a deeply damaging censorship row.

Selina Cartmell, the artistic director of the Royal Exchange in Manchester, revealed details of 2027-28 productions that include a retelling of the Munich air disaster and a modern Stockport-set version of the ancient Greek myth Phaedra.

The choreographer said goodbye to Lucy Guerin Inc by dancing in public for the first time in 13 years - which she found ‘incredibly confronting’

If there is one thing the professional dancer learns never to expect, it’s longevity. The physical demands on the body and increasing risk of injury tend to necessitate short careers. Melbourne-based choreographer Lucy Guerin has certainly bucked that trend, with a CV spanning decades and several international awards under her belt. But after 25 years at the helm of her eponymous company, she is now stepping away, conferring her artistic directorship on choreographer Melanie Lane.

Before she left, Guerin returned to the stage for an exquisite solo show, Place Dances, inside Melbourne’s Buxton Contemporary art gallery. It was the first time she had danced publicly in 13 years. “I have found it incredibly confronting, to be honest,” she says, hours before the premiere. “As a dancer, you always remember in your body what it feels like to do an arabesque or a jump. And part of me thought I could still do all those things if I just got back in the studio and trained a bit.” She laughs at her own hubris. “But I’m afraid that wasn’t the case.”

Exclusive: Play anonymously published in 1596 was collaboration between Shakespeare and Christopher Marlowe, according to computer analysis

Dramatic new evidence concludes that the play Edward III should be added to William Shakespeare’s canon, and also that it was a major collaboration with his contemporary rival Christopher Marlowe.

The history was published anonymously in 1596, and it has long been thought that Shakespeare wrote at least a few scenes. However, Dr Rory Loughnane, a leading scholar and co-author of the research, told the Guardian that computerised textual analysis pushed the case “beyond any reasonable doubt” that the Stratford-born playwright was the principal writer.

Amid financial pressures on household and school budgets, the theatre company is expanding access with free plays

Six young actors step into the spotlight as a reverent silence descends on the hall at City Academy in Bristol. A boy steps forward to pose a central question: “What does it mean to be young in Britain in 2026?”

Union jack flags flash across the backdrop as three girls excitedly debate a Spice Girls reunion concert, before the focus swings back to the young boy wrestling with modern British identity. He rattles off a list of familiar cultural touchstones – fish and chips, cups of tea, Butlin’s, David Attenborough, Gogglebox and the England football team, naming heroes such as Jordan Pickford and Jude Bellingham.

A new play revisits the story of Ireland’s 18th-century German refugees, whose experience of prejudice and exclusion resonates with today’s debates over immigration

In the early 18th century, a few thousand Germans fled religious persecution and near starvation in their homeland and ended up in remote rural Irish villages. The Irish Palatines, as they were known, were poor, conservative homesteaders who couldn’t speak the language and were the object of suspicion and violence – precursors to the displaced Syrians or Afghans of the past decade.

Their story is told in Refuge, a co-production between Staatstheater Mainz and the Irish company Fishamble. Part love story, part social commentary, it is performed by a mixed cast, mainly in English but with some German interludes.