Theatre

Anthony Holden in The Observer: Carmen is back at Covent Garden for the first time since last summer’s Orwellian smoking ban and I’m delighted to report that the Royal Opera has taken not the slightest notice. If there’s any opera in which onstage smoking should be mandatory, this is it. Cigarette girls and soldiers alike all puff their heads off during the first act, to the point where the fumes drift gratifyingly into mid-stalls. And, even better, there are none of those ludicrous health-and-safety signs out front, as, for instance, at the Old Vic, to warn us of the perils of entering a smoke-stained auditorium. Of course in plucky Scotland

The New York Times’ Ben Brantley says this was a year in which drama reasserted itself on (and off) Broadway. If so then that’s a splendid thing. It’s notable, though, that just two American plays make his list of the top ten* dramas to have played in New York this past year. No fewer than seven are the work of British and Irish playwrights (with only two of the productions Brantley hails being revivals of, respectively, Pinter and Sherriff). I draw no broader point from this than to suggest that if five of the best ten dramas presented in New York this year – according to New York’s most influential

That wise owl Terry Teachout responds to the brouhaha over the revelation that Arthur Miller “deleted” his Downs-syndrome son from his life, by digging into his vast archive to retrieve the column he wrote when Gunter Grass’s youthful service in the Waffen SS came to public attention. Mr Teachout reminds us of five important principles whose application is by no means confined to artists in trouble: 1. Judging the sins of the past by the standards of the present can be a shortcut to self-righteousness. Make sure you have all the facts–and that you understand their historical context–before passing sentence. 2. Don’t lose your sense of proportion. 3.Remember the Golden