Theatre

TOM MELLEN goes in search of revolution in the most unlikely of places.

DH Lawrence, a conscientious objector during the first world war, wanted to get away from London and the ghastly Bloomsbury set and find Utopia.

THIS striking revival of Fidelis Morgan's play is both gripping and faithful to the spirit of Patrick Hamilton's original novel Hangover Square.

THIS is a major theatrical event. The National Theatre of Scotland's hugely successful Black Watch arrives in London.

LAURA KING is confronted by the problems that haunt today's young generation.

APPARENTLY, Noel Coward wrote Hay Fever when he was only 24 and he dashed it out in under three days. Whether this is true or not is open to question, but the play has all the hallmarks of being written by a precocious youngster smugly showing off his word skills.

WATCH my lips. The best ventriloquist act I ever saw was in the Albert Cavalcanti 1945 British film Dead of Night, when the dummy made a dummy out of the ventriloquist (Michael Redgrave), driving him to madness and murder.

IGOR Stravinsky and his librettists WH Auden and Chester Kallman used William Hogarth's eight prints as a springboard for the opera The Rake's Progress.

ROBERT TANITCH catches a musical version of Voltaire's masterpiece.

WHEN Terrorism was first performed in Britain at The Royal Court, it received a huge amount of critical acclaim. Originally written in 2000 by the Russian Presnyakov brothers, it uncannily predated the 2001 World Trade Centre attacks and subsequently rode the wave of post-September 11 art trends.