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The Lead After a decade leading the National Theatre, director Rufus Norris reflects on life after leaving the prestigious institution. The acclaimed theatre artist discusses his new production of Arthur Miller's "Death of a Salesman" in Istanbul and the personal freedom he's discovered in stepping away from the spotlight. A New Chapter: Post-National Theatre Life Norris's tenure at the National Theatre concluded in 2025, coinciding with several significant personal milestones: the loss of his mother, turning 60, and completing a decade at the helm of one of Britain's most prestigious cultural institutions. "It felt important to have a complete break," Norris explains, noting his transition involved DIY projects, kayaking, and a house move. "I'm a bit of a workaholic, but I'm also a bird of simple brain so I can as easily lose myself in how to build a shed or do up a place." Istanbul Venture: Death of a Salesman Norris's first major project after leaving the NT is directing a Turkish-language production of Arthur Miller's "Death of a Salesman" at Istanbul's Zorlu Performing Arts Centre. The opportunity arose serendipitously when Norris was teaching a workshop at the venue, and general manager Filiz Ova approached him to direct the play in the complex's largest space, which seats 2,300 people. "We had been thinking of doing this play for several years and it had never been done at Zorlu PAC," Ova explains, noting her admiration for how Norris connects with people. Creative Collaboration Across Cultures The production features a hybrid creative team blending international and Turkish talent. Set designer Es Devlin, Olivier award-winning choreographer Javier de Frutos, renowned Turkish composer Oğuz Kaplangı, and Turkish deputy director Balım Kar join forces for this ambitious project. The casting includes Turkish national mega-stars: Halit Ergenç (known for "Magnificent Century") as Willy Loman, Zerrin Tekindor as Linda Loman, with Fatih Artman and Kerem Arslanoğlu as their sons. The play features English surtitles to accommodate non-Turkish speakers. Personal Connection to Miller's Masterpiece Norris found a profound personal connection to Miller's exploration of a man abandoned in childhood, striving for acceptance, and experiencing early dementia symptoms. This resonated deeply with Norris, whose mother lived with vascular dementia for years before her death. "My mum went through a very long process of decline. She hadn't recognised me for three years before she died," he shares. For Norris, the play presents "the tragedy of that human condition alongside the toxic illusions of America's capitalist dream." Freedom from the Spotlight Norris embraces his new life with a sense of liberation, particularly enjoying the freedom from the intense scrutiny that came with his NT position. "I like not having that focus on me. It's a relief... I'm irrelevant," he admits. "There's no point in thinking: 'Why aren't I important any more?' The culture moves on and it has to move on. That's how it stays healthy and relevant." He now resides in Fife, Scotland, with his partner, playwright Tanya Ronder, finding contentment in a simpler existence. Artistic Reawakening Having primarily focused on plays for the past two decades, Norris is now broadening his reading habits, exploring novels and history books. "I've got time and space finally to think, 'Oh that looks interesting,'" he explains. "You have to train yourself to actually lose yourself in a novel or nonfiction work when every 45 minutes your brain goes 'Oh surely I should be having a meeting or doing something else'." This renewed intellectual freedom is feeding his creative spirit as he considers future projects. The Future of Theatre Without Institutions Norris rejects the notion of needing to reinvent himself or seek a new institutional position. "There's nowhere like the National so you can't go beyond that. I don't have any ambition to run another building," he states. Instead, he's finding fulfillment in the creative process itself, unburdened by administrative responsibilities. "It's really about what's going to make me feel alive and engaged and content," he concludes, suggesting a new model for artistic leadership that prioritizes creative freedom over institutional power.

The Birth of a Classic The Bluetones' lead singer Mark Morriss and guitarist Adam Devlin share the story of their hit song 'Slight Return', from its humble beginnings to its massive success in the 90s. Mark Morriss' Vocals and the Song's Early Days We were still a three piece: Adam Devlin, my brother Scott and myself. We hadn’t met Eds Chesters yet, so we didn’t have a drummer. We were spending a lot of time writing songs, trying to hone this west coast, mid-60s, Crosby, Stills & Nash sound – even though it was the 90s and we were from Hounslow in London. Slight Return was the fourth or fifth song we wrote. Scott wrote the chord progressions and structure, but didn’t have any words or melody. He recorded guitar into a cassette player, then played that back on a second cassette player so he could record himself playing along to what he’d just recorded, in a very rudimentary way of four-tracking. We liked it, but we weren’t skipping around the room going: “My God, we’re going to be millionaires.” That came later. The Song's Rise to Fame It went down well at our early shows. It was catchy and memorable. We recorded a demo version and sold it on blue 7-inch vinyl at our gigs. When we got signed to A&M, they were keen for it to be a single, but we felt like it would be short-changing our fanbase, which was about 200 people, who had already bought it. We had to be talked around by the label, who said: “We can hear it being played on the radio.” But they wanted us to change the song’s name because Slight Return isn’t actually in the lyrics. The title in part refers to the last line of the song: “I’m coming home but just for a short while.” It’s also a kind of sideways tribute to Jimi Hendrix’s Voodoo Child (Slight Return). When we finally succumbed and let them release it as a single, lo and behold, it went ballistic. Adam Devlin's Perspective on the Band's Journey We thought we could write half-decent songs, so we cobbled together a set that would get us on the London circuit. I remember Scott bringing in a faster, simpler version of Slight Return. I fleshed out the guitar parts and put in a guitar solo. Mark worked out the vocal melodies, and we added a coda – the instrumental that fades out at the end, which originally had a sample from Tom Courtenay in Billy Liar, which was all very 60s. We had very different ideas from the record label and thought Can’t Be Trusted should have been the single. By then, I was living in another shared house in Wimbledon that didn’t have a washing machine. I was in the launderette when our manager phoned and said: “You’ve gone in at No 2.” I don’t think we were ready for it being so successful. The Legacy of Slight Return We've been playing it for 30 years. One tour, we’d got so bored with it, we didn’t even play it, which was a mistake because people thought we’d gone up our own arses. We learned our lesson: it’s the song everyone wants to hear. People get confused because Slight Return isn’t actually in the lyrics. I was at a farmers’ market recently when one of the stallholders said: “You were in that band who sang Where Did You Go?” I said: “Yes, but that’s not what it’s called.”

The Socceroos' World Cup Squad Revelation The Socceroos have named two uncapped attackers in their World Cup squad for this month’s World Cup, as coach Tony Popovic rolls the dice in a bid to find an attacking spark. New Faces in the Squad Winger Cristian Volpato, the former Italy youth international, has been rushed into the squad after the paperwork allowing his change of allegiance was only completed in the past week. Towering striker Tete Yengi has also won a place after a strong year with Japanese club Machida Zelvia. The Selection Process Coach Tony Popovic said selecting 26 players was not easy. “A range of factors has gone into selecting this final World Cup squad. Some difficult decisions had to be made – that’s the nature of major tournaments,” Popovic said. “But it’s also a credit to all the players involved over the past few weeks who worked extremely hard during an extended and challenging pre-camp. Players Who Missed Out Popovic had to cut four players from his training squad to meet the 26-player limit. The unfortunate four are goalkeeper Joe Gauci, defender Kye Rowles and forwards Brandon Borrello and Martin Boyle. Key Players in the Squad Selection in a second World Cup caps an unlikely comeback for Harry Souttar, who suffered an achilles injury in December 2024 and has only just returned to the field. The 27-year-old provides a physical presence in both goalboxes, highlighted by his improbable international goalscoring rate of better than one every four matches. A Young and Experienced Mix The group includes striker Mo Toure and forward Nestory Irankinda, defender Alessandro Circati and fullback Jordy Bos. All are 23 or under, and all have proven themselves effective already in some of Europe’s toughest leagues. Their presence is balanced by veterans Mathew Leckie and Maty Ryan, Jackson Irvine and Aziz Behich. Squad List Goalkeepers: Patrick Beach (Melbourne City), Paul Izzo (Randers), Mat Ryan (Levante) Defenders: Aziz Behich (Melbourne City), Jordan Bos, (Feyenoord), Cameron Burgess (Swansea City), Alessandro Circati (Parma), Milos Degenek (APOEL), Jason Geria (Albirex Niigata), Lucas Herrington (Colorado Rapids), Jacob Italiano (Grazer AK), Harry Souttar (Leicester City), Kai Trewin (New York City) Midfielders: Cameron Devlin (Hearts), Jackson Irvine (St Pauli), Mathew Leckie (Melbourne City), Connor Metcalfe (St Pauli), Aiden O’Neill (New York City), Paul Okon-Engstler (Sydney FC) Attackers: Ajdin Hrustic (Heracles Almelo), Nestory Irankunda (Watford), Awer Mabil (Castellon), Mohamed Touré (Norwich City), Nishan Velupillay (Melbourne Victory), Cristian Volpato (Sassuolo), Tete Yengi (Machida Zelvia)

Lead‑in: Title on the Line at Celtic ParkOn Saturday 16 May 2026, Celtic and Hearts meet in the final league fixture that will decide the Scottish Premiership champion. Celtic require a victory to clinch the title, whereas Hearts need only avoid defeat to force a showdown for the crown.Team Line‑ups and StakesCeltic start with Sinisalo, Johnston, Trusty, Scales, Tierney, McGregor, Engels, Nygren, Yang, Tounekti and Maeda. Substitutes include Doohan, McCowan, Iheanacho, Osmand, Oxlade‑Chamberlain, Saracchi, Murray, Forrest and Ralston.Hearts line up Schwolow, Steinwender, Findlay, Kingsley, Altena, Baningime, Devlin, Milne, Kyziridis, Kabore and Shankland. Their bench features Fulton, Kent, McCart, Braga, Borchgrevink, Spittal, Forrest, Kerjota and Chesnokov. Referee: Don Robertson.Historical Head‑to‑Head and Recent FormCeltic have dominated recent home meetings: 23 wins in 24 games between 2009‑2023.Since that run, the record narrows to three Celtic wins and two Hearts victories, including a December 2025 draw.Celtic’s season has been strong but required a controversial penalty to beat Motherwell 3‑2.Hearts entered the decider after a convincing 3‑0 win over Falkirk.Fan Sentiment and Media NarrativeMartin O’Neill acknowledged the “furore” surrounding the penalty, noting that many neutrals favour a Hearts triumph to break the Celtic‑Rangers duopoly. “Everybody outside Celtic and the Celtic diaspora wants Hearts to win,” O’Neill said.Derek McInnes described the match as “pure box office” and a potential “bedlam” atmosphere, emphasizing the drama of a season that has repeatedly upended expectations.Potential Outcomes and What They Mean for the Scottish PremiershipA Celtic win secures the title outright, reinforcing their dominance and likely boosting commercial revenue and European seeding. A Hearts draw or win would hand the championship to Hearts, delivering a rare shift in Scottish football power and energising fan bases beyond the traditional Old Firm.Looking Ahead: Scenarios After the DeciderIf Hearts claim the title, the league may see increased competition in the next season, with clubs reassessing recruitment and tactical approaches. Conversely, a Celtic victory could cement their strategic direction and maintain the status quo, while Hearts would regroup for a possible cup run and next‑season title challenge.

Es Devlin’s collective selfie portrait challenges Britain’s fragmentationAt the National Portrait Gallery, artist Es Devlin presents a constantly evolving digital collage built from ordinary people’s selfies. The work is framed as a quiet, non‑verbal invitation for the nation to coexist.How the living portrait merges thousands of UK selfiesParticipants upload a selfie via the project website.Each image is rendered in Devlin’s smoky charcoal‑and‑chalk style.The stylised portraits rotate on a framed screen, appearing and fading in a perpetual carousel.The installation deliberately leaves imperfections – mismatched beards, overlapping features – to reflect the difficulty of seamless unity.Technology behind the portrait: Google Arts & Culture Lab’s AI modelWorking with engineers at Google Arts & Culture Lab, Devlin trained an image‑generation model on her hand‑drawn portraits. The AI translates raw selfies into drawings that retain the tactile feel of charcoal, rather than a simple filter.While the project showcases AI’s creative potential, Devlin acknowledges the paradox of offering her artistic “shadow” to a corporate tech platform amid broader debates over artists’ rights.Why a crowd‑sourced portrait matters for British social cohesionThe timing is significant: Britain is experiencing heightened political fury, algorithmic echo chambers, and loneliness. By foregrounding ordinary faces, the work challenges the dominance of celebrity and political imagery in national narratives.Devlin hopes the fleeting intimacy of a shared glance can prompt a pause in the “age of destruction, fragmentation, separation, isolation” she describes.Future steps: workshops, regional roll‑outs and the debate over AI in artBeyond the gallery, Devlin will run free portrait‑drawing workshops and online classes, with plans to bring the installation to town halls, libraries and schools across the UK.The project also sparks discussion about the role of AI in cultural production – whether it is a tool of industrial capitalism or a means of artistic re‑appropriation.

The £185m Renaissance of Oxford’s HumanitiesThe Schwarzman Centre for the Humanities has officially opened its doors, marking a historic moment in the intersection of philanthropy and academia. Funded by a massive £185m donation from Blackstone co-founder Stephen A Schwarzman, the facility represents a bold attempt to modernize the study of the humanities through state-of-the-art architecture and technology. The project, described by COO Alexandra Vincent as a "hybrid" rather than a standard arts center, aims to provide a physical home for Oxford's seven humanities faculties and the new Institute for Ethics in AI.A Hybrid Sanctuary: Designing the Sohmen Concert HallThe centerpiece of the new complex is the 500-seat Sohmen Concert Hall, a space designed to challenge traditional acoustic norms. The building features a wood-lined interior that transitions from a stern lecture hall to a resonant musical environment. The opening weekend saw 12,000 visitors explore the Great Hall and the 360 Vessels installation by artist Es Devlin and composer Nico Muhly. The Scottish Ensemble’s launch program, featuring Shostakovich and Tchaikovsky, demonstrated the venue's unique acoustic properties, described as having a "haloed quality" that rang the space like a bell.Record Attendance and the Economics of PhilanthropyThe financial scale of this project is unprecedented for Oxford's humanities faculties. With a total investment of £185m, the Schwarzman Centre dwarfs previous academic building projects. Furthermore, the opening weekend attracted a staggering 12,000 visitors, signaling a high demand for public access to cultural and intellectual spaces within the university. This influx of visitors underscores the growing public appetite for spaces that blend high culture with academic discourse.Redefining Sustainability in Academic ArchitectureThe construction of the world's first Passivhaus concert venue sets a new standard for sustainable architecture in the arts. By adhering to rigorous energy efficiency standards, the Schwarzman Centre challenges the stereotype that high-performance buildings are purely functional. It also signals a significant shift in how elite universities are funding humanities departments, moving away from government reliance toward private philanthropy to create world-class facilities.The Future of the Secular CathedralAs the dust settles on the opening weekend, the Schwarzman Centre is poised to become a global model for the "secular cathedral." While the opening ceremony drew mixed reviews regarding its spiritual resonance compared to the music, the facility's success will likely encourage other institutions to invest heavily in physical spaces that foster interdisciplinary dialogue and cultural engagement. The challenge moving forward will be to ensure that the architectural grandeur translates into sustained intellectual vitality.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'