The Spectator

23 March 2019

Will it never end?

The Tories’ current humiliation could be as cataclysmic as Labour’s in 1976


Life after death: Billie Holliday at the Hologram USA Theater

Arts feature

The rise and rise of the holographic tour

In pop music, it's never been a better time to be dead


Full of lovely paintings that might lead you astray: The Renaissance Nude reviewed

Even during the heyday of Michelangelo and Raphael depictions of naked human bodies were not necessarily all about art

Tom Hiddleston in Betrayal at the Harold Pinter Theatre. Photo: Marc Brenner


Watch Tom Hiddleston ruin Pinter’s finest play

Plus: Admissions is the smartest, bravest, crunchiest play the West End has seen in ages


How did no one think the premise of Mums Make Porn was questionable?

Plus: Pose is the sort of programme we are now obliged to like almost by law


Is the increasing secularisation of funerals a good thing?

Plus: the realities of life on the English Channel

Fresh and wild: Chrystal E. Williams as Lady Macbeth and Brenden Gunnell as Seryozha in Graham Vick’s Lady Macbeth of Mtsensk


Raw, frightening, overwhelming: Birmingham Opera’s Lady Macbeth of Mtsensk reviewed

Plus: a traditional staging of Katya Kabaonva at Scottish Opera that is poetic and thoughtful


The fall of Daniel Barenboim

The shrewdest political conductor we have ever seen is mired in accusations of bullying

Spell-binding: Lupita Nyong’o as Adelaide in Us


Nyong’o is spellbinding but the plot is ultimately baffling: Us reviewed

I was grateful it wasn’t that frightening but not so grateful that it was quite so repetitively dull