David Sanderson

These two did well with their planks of wood and a few candles. Take a bow Ncuti Gatwa as Kit Marlowe and Edward Bluemel as Will Shakespeare in Born With Teeth. @RSC brings its favoured son and his friend/lover/muse? to the West End

Trigger Warning; there are trigger warnings here I’ve never encountered before. thetimes.com/culture/theatre…

Andy Goldsworthy exhibition by @NatGalleriesSco is phenomenal. So many surprises. Then read this asking why @Tate et al in London don’t appear to appreciate his work thetimes.com/culture/art/art…

Ohio is a 5 star tearjerky, funny and inspiring treat that awaits @edfringe Standing ovations are rare at the Fringe; the amazing Bengsons got it for this. Ohio heads to @youngvictheatre after Embra

Early @edfringe thoughts 2/2 3: The return of How To Win Against History about the fabulous Henry Cyril Paget brought by the equally fab FMP_Theatre is going to be a fave at @FollowTheCow 4: I’m going to miss @painesplough Roundabout venue

First thoughts as @edfringe previews begin. P1/2 1: I love the bewitching calmness of it all with the festival sort of on but not really. 2: Last year’s best comedy newcomer Joe Kent Walters has a very patchy Frankie Monroe follow up. Already sold out though.

Final word from Tom Cruise @bfi on the late Tony Scott. “What he accomplished with those jets on Top Gun was extraordinary and also on Days of Thunder. He changed aerial photography and the way you see motorsports being filmed today is because of Tony Scott. What an artist."

Also hint @bfi of Tom Cruise's crazy 1980s filming schedule: “In the morning I was shooting Rainman and in the afternoon and evening prepping for Born on the Fourth of July. And then on Sundays I was doing pick-ups on Cocktail.”

Tom Cruise @bfi on Ron Kovic who he played in Born on the Fourth of July. "he was born on the fourth, I was born on the third. To this day when our birthdays come along we send each flowers. It’s forever.”

2: Tom Cruise @bfi nuggets. Calls Christopher McQuarrie in desperation to sort out MI script starting with climbing gloves scene where red light =not sticky and blue=sticky. "Without a breath he said: “Oh well, blue is glue, red is dead”. Exceptional storyteller, Cruise added

1: Tom Cruise nuggets from @BFI Funny on MI Ghost Protocol. Said while filming he knew he had "a lot of pieces in place” but “there is no story”. eg “I did not know why I was [climbing] Burj [Khalifa in Dubai] we will figure that out later. Problems for another day.”

This is the stirring start to the intro to Tom Cruise ⁦@BFI⁩ tonight with medley of career highlights. He receives BFI fellowship tomorrow. @BFI CEO Ben Roberts paid tribute to Cruise’s advocacy of cinema and huge impact on UK filmmaking

The mighty Tom Cruise was @BFI tonight talking Jack Nicholson, how Christopher McQuarrie saved at least one Mission Impossible film, and how film schools are failing actors. And also his love of the Scott brothers Ridley and Tony.

And good to see arts minister @RhonddaBryant @NationalTheatre #HereWeAre also. Still no sighting yet of Sec of State Lisa Nandy at a show at the country's most important theatre though...

Paul Mescal was Indhu Rubasingham's guest at opening night of #HereWeAre @NationalTheatre as he got a flavour of the Lyttelton stage ahead of his NT double bill debut. As per usual @CliveDavisUK review shorturl.at/SENpj of Sondheim's last work bang on. Absorbing and surreal

#TheGreatestShowman is coming to London. Read @thetimes about how circus is meeting musical theatre. And about the director’s nerves that audience sing-a-long will drown out the circus art. thetimes.com/uk/society/arti…

I think Naomi Campbell might just have asked Tristram Hunt ⁦@V_and_A⁩ when the Steve McQueen exhibition is coming. Her one arrives this June. It is going to open her “Pandora’s box” apparently. Full story @thetimes later

It also reported that many in the sector felt the cuts, which also affected a number of orchestras, showed ACE “no longer has faith in opera [and classical music] … this is seen as a potential disaster for the sector

It does acknowledge however the financial pressures that all of Britain’s performing arts companies are facing and states that the “real value of regular grants” from ACE to opera companies has declined. It said in the last funding round there was an 8% reduction.

It was also critical of “slow … progress in key areas like a more inclusive and diverse workforce” with 10.6% of the workforce being from the Global Majority [Black, Asian, Latin American, Arab, Mixed and other backgrounds] compared with 23.4% of the UK population.