Antony Sher as Falstaff and Alex Hassell as Prince Hal in ‘Henry IV Part 1’
©Kwame Lestrade

Henry IV Parts 1 and 2, Royal Shakespeare Theatre, Stratford-upon-Avon

Antony Sher’s excellent Falstaff is at the heart of this revival

Culture columns

‘If the femme fatale indicates female power, then the present age isn’t doing too well’
‘Research may disprove what we think we know but artists are used to living with risk’
The BBC Singers
©Sophie Laslett

CPE Bach’s St John Passion, Cadogan Hall, London

A moving performance of a long-lost piece

‘Mettmann, Autobahn’ (1993)
©Sprüth Magers/DACS

Andreas Gursky: Early Landscapes, Sprüth Magers, London

A chance to look at the influences that formed Gursky

Manon Lescaut

Manon Lescaut, Easter Festival, Festspielhaus, Baden-Baden, Germany

Richard Eyre’s production is a feeble staging of a bad opera

‘Zulma’ (1950) by Henri Matisse
©Succession Henri Matisse/DACS 2014

Matisse: The Cut-outs

Tate Modern’s new show of the artist’s late works is a visually stunning triumph, writes Jackie Wullschlager

©Morne van Zyl and Brett Bailey

A dictator for all seasons

Verdi in 90 minutes; ‘Macbeth’ in the Congo: director talks about his unusual postcolonial vision

Chris O’Dowd and Leighton Meester in ‘Of Mice and Men’

Of Mice and Men, Longacre Theatre, New York

The signature themes of John Steinbeck’s novel – the loneliness of the migrant worker, the yearning for land of one’s own – have not abated

Michael Slattery as the Madwoman in ‘Curlew River’

France’s festival of Britten

The composer’s music resonates far and wide in Lyon

Detail from an untitled work by Sigmar Polke
©Alex Jamison

Labyrinth of excess

The startlingly diverse career of Sigmar Polke, Germany’s ‘Warhol with politics’, is dragged into focus at MoMA in New York

Elbow's Guy Garvey on stage at the O2 Arena, London
©Gus Stewart/WireImage

Elbow, O2 Arena, London

There were warning signs amid the band’s customary excellence