In a move that mirrors airline practices, theatres are adding new charges, increasing the overall cost of an evening out. For those eager to experience Giant, an additional £5 allows patrons to bypass the regular queue.

Another premium option is the £55 “Gold Lounge” experience, which features a welcome glass of champagne, a second drink, savory snacks, a scoop of 100g ice cream, and a programme. The top-tier ticket reaches £300, alongside a booking fee of £3.95.

ATG, Britain’s largest theatre operator, has rolled out a range of extra services for theatre-goers, including a new £5 express pass for “fast-track” entry into the venue as soon as doors open. This option also includes a programme when available.

With control over 72 venues, including the Apollo Victoria Theatre and Bristol Hippodrome, ATG is also providing opportunities for customers to pay more for access to exclusive VIP drink areas during intermissions at select locations.

Visitors to Moulin Rouge! The Musical at the Piccadilly Theatre can upgrade their experience for an additional £15, which includes a souvenir cup, a soft drink, and popcorn.

For an extra £10, audience members can access the “priority club bar,” which offers expedited service and 2-for-1 cocktails throughout the performance, along with a complimentary programme when available.

While not all theatres are implementing these queue-jumping options, Andrew Rawlinson, ATG’s business director, indicated plans for expansion of the service.

For those interested in Reverend Richard Coles’s show, Borderline National Trinket, at the Grand Opera House in York, attendees can also pay £5 for priority venue access.

A recent YouGov survey revealed that many people are deterred from visiting the theatre due to high costs, with 57 percent of 1,375 respondents citing ticket prices as their primary concern.

Actor Ralph Fiennes has previously voiced his concerns about the steep ticket prices in the West End.

Theatre blogger Carl Woodward critiqued the trend, saying, “British theatre is not EasyJet. Unfortunately, people accept the commercialisation of every single aspect of life now. ATG’s ‘queue jump into West End shows for a fiver’ idea is not a healthy model. It is a terrible idea.”

He added that since audiences are already spending substantial amounts on tickets, there’s hope for meaningful regulation to make theatre attendance more accessible.

The Liverpool Empire Theatre offers a £60 “Platinum Lounge” experience for Hamilton attendees, while Milton Keynes Theatre features a £20 Ambassador Lounge package for Joseph and the Amazing Technicolor Dreamcoat, which includes a welcome drink, snacks, and ice cream, along with a £5 queue-skipping option.

Rawlinson explained that these additional costs are aimed at providing customers with a more convenient and enjoyable theatre experience, stating the goal is to enhance entry into the venue, adding a touch of luxury and ease.

Comedian Jon Culshaw, currently touring with his show Imposter Syndrome, humorously suggested that this trend could inspire some new material, referencing a potential rephrasing of John Lennon’s famous Royal Variety line regarding audience seating arrangements.

Written by David Adjmi, this three-hour drama is not classified as a musical, yet it is infused with music. The narrative offers a close-up look at a fictional Anglo-American rock band as they navigate the recording of a hit album in a California studio during 1976, against a backdrop of personal conflicts and relationship challenges. If this plotline sounds reminiscent of Fleetwood Mac’s tumultuous creation of their iconic album Rumours, you’re not alone in drawing parallels. The show features a British couple, Reg (the bassist) and Holly (the keyboardist and singer), mirroring the well-documented split of John and Christine McVie from Fleetwood Mac, while British drummer Simon attempts to mediate the chaos amidst his own crumbling marriage, akin to Mick Fleetwood’s experiences. The dynamics between American singer-guitarist Peter and vocalist Diana can also be compared to those of Lindsey Buckingham and Stevie Nicks. Legal ramifications surrounding these similarities may arise later in the article.

Interestingly, the initial spark for this play’s concept came to Adjmi aboard an airplane back in 2013, inspired by a completely different musical act.

“I was listening to Led Zeppelin’s cover of ‘Babe, I’m Gonna Leave You’ on the in-flight radio, a song my brother often strummed on his guitar,” Adjmi recalls. “Robert Plant’s delivery captured a tumultuous relationship encapsulated in the lyrics: love, hate, need, and loathing all at once, like a Freudian tableau.” This moment led him to envision a band sequestered behind studio glass, with some of their conversations faintly heard by the audience.

Adjmi also intended to depict the band as a surrogate family, reflecting on his own experiences growing up as the youngest in a “volatile” Syrian Jewish household in Brooklyn. He shares, “On an unconscious level, I wanted to tell that story through characters revealing their inner selves to a microphone.”

After a decade of development and collaboration, Stereophonic debuted at the 200-seat Playwrights Horizons theater off-Broadway in October 2023. Adjmi connected with key collaborators early on, including director Daniel Aukin, whom he convinced to join him for lunch before drafting any scripts, and Will Butler of Arcade Fire fame, who composed the music for the play. Notably, none of them had prior experience working with each other before this venture began.

Among the main creatives, only Butler had firsthand experience in a recording studio. “We were faking it till we made it,” Aukin admits during a rehearsal break in North London. To ground their production in authenticity, they immersed themselves in behind-the-scenes rock documentaries such as Metallica’s Some Kind of Monster and Jean-Luc Godard’s Sympathy for the Devil, which explore themes of interpersonal dynamics in music groups.

Adjmi’s epiphany about the recording studio as a central dramatic space has a profound impact on the audience’s engagement. The intimate setting places the audience alongside the engineers in a wood-paneled studio while the fictional band rehearses behind a soundproof glass panel, mirroring the isolation and pressure musicians often face.

Designer David Zinn crafted the set by studying actual Seventies rock studios like Sound City and The Record Plant, amalgamating various styles to create a unique aesthetic. His design thoughtfully maximizes the visual interaction between the control room and the band, making the fictional space feel accessible to the audience.

In this air-conditioned sanctuary, tensions and creative conflicts unfold as the band members rehearse, bicker, and reconcile. The drama artfully avoids the clichéd sex, drugs, and rock’n’roll narrative, opting for a hyper-realistic dialogue style that requires audience engagement. Aukin reflects, “Though it has elements reminiscent of classical drama, its unconventional delivery makes it refreshing.”

Actor Andrew R Butler has been portraying the second engineer Charlie since the play’s launch. Having missed only five performances on Broadway, he describes the unique perspective of his role: “I feel like I get to watch the play unfold nightly, allowing the audience to observe through the engineers’ eyes. The band believes they can conclude the recording in three weeks, but it stretches out to a year as they rise to stardom amid personal turmoil.”

While Stereophonic does not follow a conventional plot, Butler likens his performance to musical interpretation, remarking on its rigorous yet unpredictable nature, which feels reminiscent of film acting.

With Butler as one of three holdover cast members from Broadway, the London production introduces new actors, including Lucy Karczewski and Nia Towle. Karczewski learned about the play while overhearing her roommate practicing its song “Bright” and decided to audition, ultimately landing the role of Diana without causing any rift in their friendship.

During rehearsals, the band occasionally showcases their musical talent, with Aukin and Butler closely observing their progress. “It’s crucial we shape them into a cohesive group,” Aukin explains. At one rehearsal, the five-member band presented half an hour of impressive, original music, striving to embody the essence of a world-class group.

Considering the musical influences, while their sound shares similarities with Fleetwood Mac, Butler downplays the connection, stating that his upbringing consisted of more indie and alternative influences rather than classic rock. He adds, “When discussing harmonies, I hear echoes of the Eagles rather than Fleetwood Mac.”

Nevertheless, some audiences noted striking correlations with Fleetwood Mac. Ken Caillat, who engineered Rumours, saw the Broadway adaptation and found elements too closely resembling stories from his memoir, leading him to express disappointment over perceived similarities. “I feel ripped off,” he stated to The New Yorker. Adjmi, however, clarified that any likeness to Caillat’s experiences was unintentional, although a lawsuit ensued and was later settled on mutually agreeable terms. The producer Sonia Friedman emphasized the unsettling nature of the accusations but confirmed that the matter is resolved.

Adjmi acknowledged that Fleetwood Mac serves as one source of inspiration for Stereophonic, but insists that the story expands beyond those narratives. “While superficial elements might connect to Fleetwood Mac, the play draws heavily from numerous influences. Artists, throughout history, have always blended inspirations to create something new, and this work reflects that synthesis.”

During his Tony acceptance speech last summer, Adjmi expressed profound gratitude towards those who supported him in his seven-year journey. He plans to relocate to London this autumn, feeling more at home in the UK amidst ongoing complexities in the US. While he embraces the recognition and success at 52 years old, he reflects, “This word ‘success’ makes me uneasy. It suggests that my previous work lacked value. I have been crafting plays for two decades, and it’s essential to recognize that achievement isn’t solely measured by accolades. It’s a passive honor; the recognition is given, not earned through effort.” He hints at his next project, which diverges from his past work, emphasizing his desire to explore radically new themes.

For Butler, this venture into theater represents a newfound creative chapter following his departure from Arcade Fire amid controversies. “Leaving a successful band felt surreal, but I knew I needed to embrace some risk. It’s comical how well this endeavor has taken off; a three-hour play capturing widespread interest is quite the development.”

He draws from his past in band dynamics, underscoring the accuracy of Stereophonic in portraying the studio experience—how daily pressures can lead to creative breakthroughs while testing personal limits. The play vividly explores the synaptic intersections of art and turmoil, offering an engaging lens into the rock and roll experience.

Stereophonic will be showcased at the Duke of York’s Theatre in London from May 24 to October 11.

In Lessinia, located north of Verona, Slavc encountered a female wolf, Juliet, who was also on a journey, likely having strayed from a pack in the western Alps. Their meeting resulted in the first wolf pups borne in Italy’s eastern Alps in over a century, with now seventeen established packs found in the region. Across the European landscape, wolf populations are on the rise. France, which eliminated its wolf population in 1927, has rebounded to an estimated 800 wolves. Greece hosts around 1,000, while Italy’s wolf population has surged from a mere 100 in the 1960s, confined to Abruzzo, to approximately 3,300 today. The UK, Iceland, Cyprus, Malta, and Ireland remain the only European nations without a wolf presence.

Author Adam Weymouth retraces the journey of Slavc on foot. This endeavor, while reminiscent of classic adventure travel narratives, diverges into reflection and nuance. Weymouth, who received the Sunday Times Young Writer of the Year Award for his previous work detailing a 2,000-mile journey down the Yukon River in Canada, approaches this story with a focus on the intricate connection between humans and wolves.

Wolves have long been ingrained in folklore, from fairytales to nightmares. For Anglo-Saxons, January was cherished as the wulf-monath, when wolves would sometimes enter villages in dire need of food. This fear evolved into the werewolf hysteria of the 15th century, culminating in hundreds of executions in Europe over the next three centuries.

Weymouth’s journey leads him through contemporary Austria, where he discovers similar tensions concerning wolves amidst various social and economic crises. The topic of wolves has sparked conflict between conservationists and conservatives, as well as urban liberals and rural residents. In some rural Austrian communities, wolves are met with hostility, reflecting a broader sentiment that also extends to immigrants.

Weymouth encounters a variety of perspectives, including those from hunters, anti-wolf advocates, and farmers who are frustrated not only by wolves but also by EU regulations that restrict their ability to safeguard livestock.

Weymouth sees Slavc as a symbol of hope in precarious times, but he also uncovers unsettling connections between wolves and far-right ideologies throughout history, dating back to Nazi Germany, where Hitler admired wolves and referred to the Hitler Youth as his “wolf cubs.” 

Even today, wolves attract attention, often associated with a mythological structure that designates a dominant alpha male within packs. This, however, stems from outdated research on captive wolves. Conversely, some claims about the beneficial effects of wolves on ecosystems, such as those proposed concerning Yellowstone National Park, are also scrutinized by Weymouth, who warns against idolizing wolves without recognizing their true nature.

Weymouth’s travel writing shines through in the vivid portraits he paints of the people he meets, including a cheerful Moroccan shepherd and a park ranger who feels at home in nature. His lyrical descriptions evoke emotions as he journeys through the Dolomites during a scorching summer.

Perhaps the emotional high point of the narrative is when Weymouth finally encounters a wolf. He describes a poignant moment with a captive wolf, highlighting its bright eyes and the lasting impression it leaves on him. A wild wolf sighting is saved for the conclusion, depicted with sensitivity and evoking a powerful culmination to this exploration.

The narrative doesn’t stop there, as a postscript introduces an unusual circumstance: In 2022, a wolf killed a pony owned by Ursula von der Leyen, the president of the European Commission. This incident prompted investigations and ultimately led to changes in the legal status of wolves in Europe by 2024, allowing for their hunting once more.

Weymouth’s writing has evolved since his captivating debut, *Kings of the Yukon*. His latest work reflects a deeper complexity and matured perspective, raising the anticipation for his future literary endeavors.

*Lone Wolf: Walking the Faultlines of Europe* by Adam Weymouth (Hutchinson Heinemann, 18.99, 384 pages)

It has been a few years since the renowned Irish comedian delivered perhaps his most celebrated performance, which explored his long-awaited quest to discover his birth mother. Though a shortened version aired on the BBC, the audience at Reading Hexagon seemed unaware of this.

This new show, titled Re:Creation, serves as a sequel. The latter part of the performance involves Ó Briain’s journey as it took considerable time for his birth mother to reveal the identity of his father. Surprisingly, once she did, Ó Briain managed to locate his father rather quickly, despite the fact that the man had relocated abroad. To respect the story’s surprises, I’ll refrain from sharing specific locations, names, and plot twists as the details are where the real excitement lies.

Ó Briain expertly harnesses his storytelling capabilities as he transitions into a humorous commentary about the whimsical side of trying new experiences, including the moment he organized a DNA paternity test. His delivery strikes the perfect balance between seriousness and lightheartedness, making the absurdity of the situation enjoyable.

This performance showcases Ó Briain’s remarkable skill in narrative construction, with a dynamic pace that belies the cleverness of his storytelling. Even the side stories, such as the comical experience of a 53-year-old learning to ski, are infused with refreshing energy. Be sure to stay for the encore, as every aspect of this narrative is not to be missed.

It is unfortunate that much of the stand-up leading up to this core story feels somewhat superfluous. In his previous show, he also delayed revealing personal details about his mother, but filled that time discussing topics like lockdowns and health.

In this performance, apart from his usual interactions with the audience, Ó Briain reflects on the joys and challenges of getting older, parenthood, and marriage. He pokes fun at his younger, hairier self and recounts the trials of completing an online speed awareness course as “the guy from Mock the Week.” While these segments are entertaining, they often feel like a preamble to the more engaging material that follows, which thankfully is included later in the show.

Touring until March 28, Dara Ó Briain continues to captivate audiences with his unique blend of humor and storytelling.

Tchaikovsky, who held Mozart in high esteem, sees his work reimagined in Furness’s dynamic interpretation, reminiscent of a nightmarish version of The Marriage of Figaro. Here, aristocrats and servants grapple for power, revealing a society rife with snobbery, hypocrisy, and conflict. The opera’s protagonist, Herman, culminating in a tragic realization, reflects, “What is our life? A game!” This highlights not only a literal card game but also the pretense and hidden identities that permeate their lives.

The production’s creativity shines particularly in the Pastorale, a play within the opera. It features a daring ballet choreographed by Lucy Burge, underscoring themes of seduction and revealing the characters’ true natures. Robert Hayward’s Tomsky emerges as a sympathetic figure with a complex past connected to the repressed Prince Yeletsky, portrayed by Roderick Williams. The character dynamics, including Stephanie Wake-Edwards’s assertive Polina longing for Laura Wilde’s Lisa, add rich emotional layers. The old Countess’s nostalgic references to her youth with Madame de Pompadour hint at deeper, unaddressed themes of repressed desires that Tchaikovsky subtly explores.

Despite its Rococo influences, Tchaikovsky’s score is saturated with intense emotion and passion. The Philharmonia’s performance, particularly its rich string section, imbues the music with an essential warmth. Douglas Boyd’s meticulous conducting reveals intricate musical details, especially the haunting lament that introduces Act III.

Herman’s role is particularly challenging, and tenor Aaron Cawley tackles it with vigor, though his singing occasionally pointed towards a strident edge as the evening progressed. Wilde delivers a moving and beautifully sung Lisa, and Harriet Williams, stepping in for Diana Montague, brings a sharp complexity to the Countess’s character. Ultimately, Roderick Williams stands out with his eloquent and heartfelt portrayal of Yeletsky, delivering his aria with poignant grace.

Running time: 270 minutes (including a dinner interval). Performances continue until July 4, with a broadcast scheduled for Radio 3 in October.

Stay updated with @timesculture for the latest in opera reviews and cultural insights.

In 1935, at the age of 11, Dunthorne’s grandmother, Dorothea Merzbacher, departed Germany aboard the Orient Express, embarking on a journey of 1,000 miles toward a new life in Turkey. Among her family’s packed belongings were packages of the well-known toothpaste Doramad, infamous for its radioactive components that were said to “protect teeth and gums”—produced in her father’s chemical lab in Oranienburg.

“Most of what I understood about my grandmother’s early life was filtered through family tales, smoothed by repeated storytelling,” Dunthorne reflects, as he introduces the eight-part podcast series, Half-Life: The History on BBC Sounds. There’s the account of how the German-Jewish family boldly returned to Germany for the Berlin Summer Olympics, “while the entire country was on its best behavior,” withdrawing maximum daily funds from their frozen bank accounts, and spending it with a sense of urgency, knowing it would likely be confiscated at the border.

Those who remained behind faced tragic fates—some perished in concentration camps, while others took their own lives. Dorothea’s tale of survival motivated Dunthorne, who is both a novelist and poet. “I hold up my finger, allowing the polished bloodstone to glimmer in the light, recounting my grandmother’s flight from persecution with a clarity that comes from someone who hadn’t engaged in deep research.”

However, when Dunthorne began to verify the facts, he encountered some inconvenient truths. In a 2012 interview with his grandmother, he sensed her exasperation. The 88-year-old Dorothea, visibly bored and anxious for lunch, often scolded him, saying, “You should read history, really, rather than listening to me.” It was only after her passing in 2017 that he understood her frustration might have stemmed from his selective interest in only the most favorable stories.

He delved into the unpublished memoir of her father, Siegfried Merzbacher, a document known in the family for its complex prose. After sifting through “506 pages of preliminary remarks,” his great-grandfather included a confession: “I have betrayed myself… I carry a significant debt on my conscience that I cannot rid myself of.” This was followed by a 13-page narrative detailing Siegfried’s experiences as a Jewish chemist in a poison gas laboratory collaborating with the Nazis.

“Why hadn’t I known this before?” Dunthorne pondered. Yet, had he actively listened to his grandmother, he might have. She had previously mentioned her father’s importance to his employers. This raised another question: Could Siegfried have remained an asset to the regime after the family escaped Germany?

Combining history, memoir, travelogue, and journalism, Dunthorne’s quest unveils a deeply engaging narrative. His journey spans locations including the UK, Berlin, Munich, and Oranienburg—once noted for its radioactive past and its association with Nazi atomic projects and toothpaste production. The journey also takes him to Ankara and further to Dersim, a site of tragic massacres of Kurds in 1937 and 1938.

Dunthorne possesses a knack for storytelling. In Oranienburg, where the remnants of war still necessitate a dedicated bomb squad, he reflects wryly: “My family history felt present under my feet, either quietly emanating radiation or threatening to explode.” The effort is artfully produced by Eleanor McDowall of Falling Tree, known for her insightful projects; sound engineer Mike Woolley enhances the production, while Jeremy Warmsley contributes a haunting score evoking the spirit of klezmer music and compelling piano.

The tone of Half-Life stands in stark contrast to previous BBC History Podcast offerings, such as David Dimbleby’s analytical examination of capitalism in Invisible Hands. While Dimbleby articulated with conviction, Dunthorne reveals uncertainties that underscore the complexities of simplifying historical narratives. Both podcast series resonate with our current lives and historical contexts, culminating in a Berlin event recording in early May.

In the current landscape, I often find myself disillusioned with television history documentaries that prioritize aesthetics over learning. However, the demand for thoughtfully produced audio history shows like Half-Life demonstrates a vibrant appetite for engaging content.

For history enthusiasts, the future looks promising.

What recent podcasts have captured your interest? Share your thoughts in the comments below.

Initially aspiring to create what he termed “serious” orchestral music, Strouse’s career took an unexpected turn as he found himself performing in nightclubs and various venues, providing music for singers, dancers, and even burlesque acts. One advertisement humorously highlighted his ensemble, stating “Continuous Stripping Plus Buddy Strouse and His Band.” This eclectic experience served as a backdrop for his theatrical endeavors.

While working as a rehearsal pianist for the Broadway musical Saratoga in 1959, Strouse was approached by Edward Padula, the show’s stage manager. Padula shared his vision for a musical centered around teens captivated by the burgeoning rock’n’roll movement. Although funding was not secured, Strouse seized the chance, eager to escape the trappings of covering other composers’ works.

The musical, initially titled Let’s Go Steady, evolved into Bye Bye Birdie, featuring seven unforgettable songs with lyrics by Lee Adams, Strouse’s longtime collaborator. The hit numbers included the ever-popular “Put on a Happy Face” and “A Lot of Livin’ to Do,” both of which gained immense popularity. The production starred Dick Van Dyke and Chita Rivera as it narrated the story of rock singer Conrad Birdie and his impending draft into the U.S. Army, loosely inspired by Elvis Presley. On opening night, despite Strouse’s anxiety and the show receiving what he perceived as a tepid response, it ultimately garnered critical acclaim.

While The New York Times offered a lukewarm review from Brooks Atkinson, who described the show as “neither fish, fowl nor good musical comedy,” it did capture the hearts of audiences, winning four Tony Awards, including Best Musical, and even transferring to London’s West End. By 1963, it was adapted into a feature film starring Ann-Margret, complete with a new title song crafted by Strouse and Adams.

Strouse continued to compose serious works, including the opera Nightingale in 1982, based on a Hans Christian Andersen tale and featuring Sarah Brightman, as well as Concerto America (2002) in remembrance of the 9/11 attacks and Spirit of New York City, which premiered with the Boston Pops.

However, it is his musicals that have truly solidified his legacy, with more than two dozen produced after Bye Bye Birdie, none more iconic than Annie, which opened in 1977. Spanning six years and featuring over 2,300 performances, Annie tells the tale of the red-haired orphan searching for her parents amid the Great Depression. The score includes beloved songs such as “Tomorrow,” “It’s the Hard-Knock Life,” “You’re Never Fully Dressed Without a Smile,” and “I Don’t Need Anything But You.”

Annie achieved significant success, winning seven Tony Awards, including Best Musical and Best Score. It was later adapted into a 1982 film starring Carol Burnett. Strouse’s song “It’s the Hard-Knock Life” experienced a resurgence when it was sampled by Jay-Z, while “Tomorrow” became a staple in pop culture, featured in various films like Shrek 2 and You’ve Got Mail. Strouse humorously recounted an encounter where a frustrated parent complained about hearing the song too frequently at school events. Strouse and Adams also attempted to create a sequel, Annie 2, later renamed Annie Warbucks, which did not achieve the same success as its predecessor.

Despite experiencing several failures, Strouse possessed a resilient spirit and remained focused on his successful projects. Unfortunately, many sequels to his original shows did not fare well, including Bring Back Birdie, which closed after just four performances, as well as A Broadway Musical (1978) and Dance a Little Closer (1983), which both lasted only one performance. Reflecting on the nature of theater, Strouse shared, “Everybody has flops. When I teach, students often ask how to bounce back from a failed show. The answer is simple: you’ve done your best, it didn’t work, now move on to the next project.”

Even his less successful productions occasionally birthed memorable songs. For instance, the 1962 musical All American, despite closing shortly after opening, included the timeless standard “Once Upon a Time,” performed by iconic artists like Frank Sinatra and Tony Bennett.

Strouse is survived by three sons: Will, a screenwriter; Nicholas; and Ben, along with a daughter, Victoria, who was named after the musical in development during her birth, I And Albert, a 1972 production about Queen Victoria and Prince Albert. His wife, choreographer and director Barbara Siman, whom he wed in 1962, passed away in 2023.

Born on June 7, 1928, in New York to Ethel Newman, an amateur pianist, and Ira Strouse, a tobacco salesman, Charles Strouse endured a challenging childhood characterized by his father’s health struggles and his mother’s depression. Music provided solace during these difficult times, and Strouse’s fondest memories involve singing with his parents when they were well. This early experience cultivated a bright outlook, evident in his optimistic compositions.

His early friendships included Burt Bacharach, whom he affectionately nicknamed “Happy.” Strouse began taking piano lessons at ten, penned his first song at twelve, and quickly progressed to studying composition at the Eastman School of Music by age fifteen. In his memoir, he described music as a riddle he was determined to solve.

After his studies, Strouse attended Tanglewood under Copland’s guidance and secured further training in Paris with Nadia Boulanger, who recognized Strouse’s talent for “light music.” Although he initially struggled with this label, her encouragement helped him see the value in creating music that could uplift and entertain.

Meeting lyricist Lee Adams at a party in 1949 led to a fruitful collaboration. Their partnership yielded numerous songs for amateur shows before reaching Broadway, starting with Bye Bye Birdie, and including hits like Golden Boy (1964) starring Sammy Davis Jr. and Applause (1970) with Lauren Bacall. Together, they also created the iconic theme song “Those Were the Days” for the television show All In The Family, reflecting Strouse’s own cherished memories of family music sessions.

In addition to theater, Strouse composed film scores for projects like Bonnie and Clyde (1967) and The Night They Raided Minsky’s (1968). Until the end of his life, he remained committed to his craft, actively participating in auditions and revivals of his works. On his 80th birthday, he reflected, “The key is to keep working. I’m a workaholic and enjoy the process. I don’t socialize frequently, preferring to stay home and write. Sometimes, I produce a lot of trash, but within that, I find little gems to develop further. My connection to music is akin to a tailor’s relationship with fabric.”

Charles Strouse, the legendary composer, passed away on May 15, 2025, at the age of 96, leaving behind a lasting legacy in the realm of musical theater.

The latest episode featuring Lineker alongside Match of the Day contributors Alan Shearer and Micah Richards will be the final installment available on BBC Sounds, the broadcaster’s audio streaming service.

Originally, a one-year licensing agreement was established in November with Goalhanger, the podcast production company co-founded by Lineker. At that time, the BBC had announced that episodes of the podcast would remain on its audio platform for a duration of three years.

In contrast, the podcast’s sibling show, The Rest is History, hosted by Tom Holland and Dominic Sandbrook, will still be accessible on BBC Sounds.

Sources indicate that the decision to drop The Rest is Football is closely linked to Lineker, aged 64, stepping back from his role at the BBC after he made a social media post related to Zionism that featured a rat—a symbol associated with historical antisemitic sentiments.

“Gary is stepping back from the BBC as of Sunday, which implies that there will be no MoTD or Rest is Football on BBC Sounds,” stated an insider. “However, this is not a reflection on Goalhanger, which we collaborate with effectively.”

Following his departure from Match of the Day, Lineker has apologized for the contentious post and will no longer present BBC coverage of significant sports events, such as the 2026 World Cup and the upcoming FA Cup.

The move to discontinue the podcast was met with approval from staff members, some of whom had previously voiced opposition to its existence on a BBC platform.

“I can’t understand how it was allowed to remain on air,” remarked one employee. “This should be a clear stance moving forward. I hope management takes the lessons from this situation seriously and adopts a zero-tolerance policy, although I’m concerned they might not. All staff, including Jews, deserve a respectful workplace.”

The Rest is Football will still be accessible on other audio platforms such as Apple Music and Spotify.

During the recent Euros 2024 tournament, the podcast achieved impressive metrics with a total of 20 million downloads and views on full episodes on YouTube.

Requests for comments were made to both the BBC and Goalhanger.

When Bruce Springsteen Came to BritainBBC2, 9.30pmTonight, BBC2 pays tribute to Bruce Springsteen, known as The Boss, featuring several programs marking the 50th anniversary of his initial UK concert. The highlight, When Bruce Springsteen Came to Britain, chronicles the arrival of the 26-year-old Springsteen and his E Street Band in November 1975, culminating in a sold-out show at London’s Hammersmith Odeon. The program includes a fresh interview with Springsteen, revealing that he was so critical of his performance that he experienced PTSD and avoided watching the footage for decades. Fortunately, the concert recording follows at 10.35pm on BBC2.

The Black Forest MurdersBBC4, 9pm/9.45pmThe narrative opens as Stefanie Berghoff sets out for a run in her picturesque mountain village, foreshadowing ominous events. This four-part murder mystery, a German subtitled detective drama based on real-life incidents, offers a subdued take on the genre. While the show’s aesthetic remains restrained, it offers an insightful depiction of a thorough investigation, led by the captivating detective Barbara Kramer, portrayed by Nina Kunzendorf.

Doctor WhoBBC1, 6.50pmIn the previous episode, viewers witnessed Ncuti Gatwa’s Doctor facing dire circumstances as his adversary, the Rani, threatened Earth. As the series finale approaches, expectations are high for a heroic resolution. However, hints that Gatwa has filmed a regeneration scene and diminishing interest from co-producers Disney suggest uncertainty about the Doctor’s fate beyond the episode’s end.

Fawlty Towers: A Very British Comedy5, 9.30pmThis peculiar retrospective on the iconic John Cleese comedy delves into modern sensibilities regarding its humor rather than solely celebrating its comedic legacy. Featuring commentary from personalities like Trevor McDonald and Nina Myskow, the discussion touches upon the portrayal of Spanish immigrants in 1970s Britain. Viewers may find the critiques from a Gen Z panel jarring, but the classic clips from the original show remain timelessly entertaining.

Streaming Suggestions, by Andrew Male

Burton and TaylorBBC iPlayerThis 2013 drama, featuring Dominic West and Helena Bonham Carter, highlights the tumultuous relationship between Richard Burton and Elizabeth Taylor during their time in New York for Private Lives. The screenplay by William Ivory effectively captures the couple’s complex devotion. Additionally, viewers can access Burton’s open 1974 interview with Michael Parkinson, documenting his life shortly after a six-week stint in a rehabilitation clinic.

Film Recommendations, by Kevin Maher

See How They Run (12, 2022)Channel 4, 9.25pmIn this whodunit comedy, Saoirse Ronan features as the enthusiastic trainee Constable Stalker, partnered with heavy-drinking Inspector Stoppard (Sam Rockwell) in 1953 London. Together, they investigate the murder of a notorious American filmmaker (Adrien Brody) at a West End theatre celebration. The film includes an impressive ensemble cast and creatively pays homage to Richard Attenborough, who previously portrayed the Mousetrap’s Detective Sergeant Trotter, evoking a chilling accuracy (98min).

The Good, the Bad and the Ugly (18, 1965)ITV4, 10pmSergio Leone’s climactic spaghetti western installment stands as his most ambitious, though its events unfold prior to its predecessors. Clint Eastwood’s drifter navigates an uneasy alliance with a heartless mercenary and a bandit in a quest for treasure during the American Civil War. Ennio Morricone’s score, regarded as a masterpiece, features the instantly recognizable flute melody accompanying Eastwood’s iconic entrance (180min).

Radio Highlights, by Clair Woodward

Music PlanetRadio 3, 9.45pmLopa Kothari presents her top track selections, alongside a performance from Ghanaian frafra artist Florence Adooni and a segment featuring Peggy Seeger during her final tour.

Sunday

Viewing Recommendations, by Victoria Segal

MountainheadSky Atlantic/Now, 9pmAfter diving into the elite world in Succession, Jesse Armstrong directs Mountainhead, a feature-length satire set in a luxury mountain retreat in Utah where four technocrats gather for a poker weekend. However, the stakes rise significantly due to chaotic deepfake upgrades on a controversial social media platform. The isolated group, including the chilling disruptor Venis (Cory Michael Smith), strategy while grappling with the implications of their actions, offering a comedic yet bleak commentary on societal power dynamics.

Our Guy in VietnamChannel 4, 9pmMarking 50 years since the Vietnam War’s conclusion, Channel 4 sends Guy Martin on a journey through the country. This engaging program serves as both a travelogue and a light historical insight into Vietnam’s evolving economy. While some segments may raise eyebrows, Martin effectively illustrates the war’s lingering effects through personal stories and cultural encounters, even tapping into hands-on experiences with traditional crafts.

Walking with DinosaursBBC1, 6.25pmExploring the Sahara Desert’s vastness 100 million years ago, this episode reveals the journey of a spinosaurus family seeking sustenance amid perilous predators. The stunning CGI breathes life into this primordial tale.

Death ValleyBBC1, 8.15pmFollowing a hiker’s tragic death in Wales, DS Janie Mallowan (Gwyneth Keyworth) seeks the assistance of former TV detective John Chapel (Timothy Spall). As Chapel questions the necessity of a thespian’s aid in solving real crimes, his instincts prove invaluable, delivering a delightful performance alongside Keyworth’s charming portrayal of a detective hand-in-training. This episode will appeal to fans of Death in Paradise and scenic Welsh landscapes.

Streaming Suggestions, by Andrew Male

Secrets We KeepNetflixWhile navigating the influx of subpar Nordic thrillers, don’t overlook this six-part Danish domestic thriller penned by Ingeborg Topsoe. It uses the disappearance of an au pair to unravel the hidden complexities of affluent Danish life, delivering strong performances highlighted by Per Fly’s suspenseful direction.

Film Recommendations, by Wendy Ide

Spartacus (PG, 1960)BBC2, 1pmKirk Douglas stars in this iconic swords-and-sandals epic as Spartacus, the slave who leads a revolt against oppression. Douglas’s portrayal captures the essence of a gladiator forced into a fight against Laurence Olivier’s enigmatic Roman senator, all under the watchful eye of director Stanley Kubrick, who inherited the project from Anthony Mann.

Saving Private Ryan (15, 1998)BBC1, 10.30pmThe gripping 24-minute opening sequence of Steven Spielberg’s World War II film encapsulates the harrowing reality of the Normandy landings. While the rest of the narrative centers on Private Ryan (Matt Damon), the film leverages sentiment deftly, underscoring the harrowing costs involved in rescuing him from behind enemy lines.

Radio Highlights, by Clair Woodward

The Verb (Radio 4, 5.10pm)Ian McMillan hosts guests celebrating hedges in a unique thematic exploration. Contributing works include Alison Brackenbury and Testament, as well as Michael Symmons Roberts examining Edward Thomas’s Adlestrop. In Poetry Extra (Radio 4 Extra, noon), Daljit Nagra reflects on the BBC’s poetry archive, showcasing seasonal works from renowned authors such as Margaret Atwood and WH Auden.