Virginia Gay: ‘Shakespeare’s most overrated play? Hamlet. Too long’
The actor and director on Disney villains, the sexy power of the melt emoji, and shattering a glass globe over the audience during Calamity Jane
Hey! You in the stalls! Put that phone away and surrender to the art
Nadia Khomami
As Rosamund Pike found out recently on stage, many people now experience the arts simply as content to be documented for likes and shares, says Guardian arts and culture correspondent Nadia Khomami
Going out, staying in
From Masters of the Universe to Monteverdi: your complete entertainment guide to the week ahead
The cartoon favourite and Mattel toy He-Man battles Skeletor on the big screen, and Garsington continues its run of excellent early operas
Letters: Readers respond to Polly Hudson’s article about unsocial behaviour in theatres, following the actor Rosamund Pike calling out an audience member for texting during her play Inter Alia
Are You Watching? review – unflinching, fury-filled interrogation of the vile side of the web
Teenage girls discuss the horrors they have seen via their phones as Georgie Dettmer’s reckoning with internet culture is brutally realised by director Jess Edwards
The Sorcerer’s Apprentice review – mindboggling bag of tricks will make you believe in magic
Digested week
Digested week: a hen party at the Rocky Horror Show ruffles a few feathers
Emma Brockes
Sex, austerity and mugs of vodka: how the Greek myth Iphigenia became a Welsh-language film sensation
Girl, Interrupted review – mental health memoir reborn as patchy Aimee Mann-soundtracked musical
Susanna Kaysen’s retelling of her time in a psychiatric hospital in the 60s became an Oscar-winning movie in the 90s and now it’s an elegant, if limited, play
Theatregoers to face phone ‘ban’ when Broadway’s Liberation comes to London
New York audiences were asked to put phones in sealed pouches, and producer says she hopes to do the same in UK
High Society review – smooth musical hardly misbehaves but the songs are heavenly
Impeccable vocals and slick staging make for dazzling set pieces in a tame production that’s missing the emotional centre of the 1956 film
