theatre

Padua – the perfect base for visiting Venice

When we visited Venice, we stayed in Padua. It’s half an hour to Venezia Mestre (Venice’s mainland suburb), trains are frequent and cheap, as long as you avoid expresses, and easy to book if you have the Trenitalia app. You’ll find accommodation and restaurants significantly cheaper if you are based in Padua and day trip into Venice, and Padua is worth exploring in its own right. There are also trains to Vicenza, Verona, Bologna and Bassano del Grappa – we found it the perfect base for a public transport trip in north-east Italy.
Fergal O’Shea

History in the mountains near Turin

On a recent break in Turin, we made the short hop to the mountain town of Susa. Situated in a stunning valley on the old Roman road to Gaul, Susa’s historic centre is a charming mix of medieval and Roman architecture set against classic alpine loveliness. We were astounded by the jaw-droppingly well preserved Arch of Augustus, built in the 1st century BC to demonstrate the loyalty of the local tribes to Rome. In typical Italian fashion, the modern road runs right underneath. Heading back to Turin, look out for the dramatic mountaintop abbey, the Sacra di San Michele, which was among the inspirations for Umberto Eco’s The Name of the Rose.
Peter

Escaping the Colosseum crowds in Rome

In Rome, take Metro Line C to the Colosseo/Fori Imperiali station, which doubles as a subterranean museum, showcasing ancient lead pipes and original Roman saunas for just a €1.50 fare. Afterwards, escape the Colosseum frenzy at the nearby Casina del Salvi. This hidden gem on the edge of Parco archeologico del Celio offers a stunning and tranquil sun terrace overlooking the Colosseum. It’s the perfect spot for an espresso or a sandwich, providing a peaceful, panoramic sanctuary just steps from the tourist trail. A true local secret for the price of a coffee.
Alice

Exploring the Cinque Terre by bicycle

The villages of the Cinque Terre are very popular – perhaps too popular? I suggest a stay in Levanto. You can easily do a train trip to the famous five towns, but I recommend hiring bikes in Levanto. Then you can cycle along resurfaced old train routes, called the Maremonti path, for about two miles, delightfully shaded from the sun, to Bonnasola. You can stop en route at beaches only accessible by foot or bike. Then cycle on to Framura and have a gorgeous lunch at the tiny harbour, where it’s also OK to swim. The joy is that it’s not only beautiful but quiet too. A real treat. I’ve cycled this path with a baby and a teen.
Kate

Sea kayaking off Sicily

The island of Vulcano lies in the Aeolian archipelago off the coast of Sicily. We were there for a kayak trip in the safe hands of our friendly guide Eugenio. He knows every little stone of the sea stacks, arches, coves and caves along the rugged coast. We played in the swells on the cobalt sea and dipped our toes in the fumaroles rising up on a volcanic black sand beach. One highlight was Eugenio’s abundant home-cooked lunch, which he had stowed on his kayak, including biscotti dipped in local malvasia wine – a well-deserved reward after a morning’s paddle. We went with Sicily in Kayak, which operates excursions from half a day to six days, some including hiking and snorkelling.
Phil Davis

Riviera vibes on the Adriatic

On Italy’s Adriatic coast in the Marche region, Grottammare has beaches that stretch the length of the town and beyond. The palm-lined lungomare promenade, dotted with bars and restaurants, has a classic Riviera vibe. In Grottammare Alta old town, the honey-coloured stone and medieval alleys packed with colourful plant pots explain why the place is listed as one of the borghi più belli d’Italia – the most beautiful villages in the country. From the Piazza Peretti’s loggia, there are incredible views across the town to the sea. Hop on a train to explore larger towns like Ascoli, Piceno and Pesaro, or simply enjoy Grottammare’s relaxed atmosphere.
Deborah

A peaceful archaeological park in Sicily

Syracuse has an amazing amphitheatre. However, the highlight of our trip to the area was Akrai archaeological park about 45 minutes inland. It is on a smaller scale, but has an amphitheatre and catacombs around which we could wander freely. As it’s off the beaten track, it has few visitors, making it a beautifully calm place away from the larger crowds in the city. The nearby village of Palazzolo Acreide is also worth a wander and has delicious lunch options.
Dawn

Another side to Florence

There’s a different side to Florence in the summer, if you know where to look. Follow the banks of the River Arno east beyond the centre and you’ll come across a real slice of local life. Nestled among the trees, pop-up bars and food stalls appear, often with live music. This is where the city’s residents come to socialise at the end of the day. It’s relaxed, informal and a mix of generations. Start near the Ponte San Niccolò, then walk east towards Lungarno del Tempio. Grab a drink, stop for a pizza and hang out like a local. After a day’s sightseeing, it’s the best area of the city to unwind in.
Paul

A fascinating 1930s villa in Milan

Italy is mostly associated with ancient architecture, but the high point of our recent trip to Milan was the 1930s Villa Necchi Campiglio. The Italian rationalist villa is a fascinating mix of elegant, spacious modernism and more elaborate 18th-century styled rooms – two radically different architects were employed at separate stages. The villa also boasts Milan’s first private swimming pool. Film buffs may recognise the house from Luca Guadagnino’s I Am Love or Ridley Scott’s House of Gucci, yet it remains under the radar – my wife’s Milan-born cousin had never heard of it. What a pleasure then to introduce him to one of the city’s most striking hidden gems.
David M

Winning tip: a brutalist masterpiece in Trieste

On a walking tour of Trieste, I spotted a curious building high up in the distance – the Temple of Monte Grisa, a brutalist masterpiece of a cathedral on the edge of the Karst plateau. It is accessible via a steep hike (or bus) through the village of Prosecco, during which you are treated to a magnificent view of the Gulf of Trieste. Inside, the architecture is breathtaking – a repeating M-shaped pattern of concrete and gigantic modernist representations of the Virgin Mary and baby Jesus. Go on a sunny day to make the most of the shadows and light.
Richard

And this is the nub of it: history.

Alex Higgins and baby daughter Lauren in 1982. Dennis Taylor wagging his finger in ’85. Ronnie O’Sullivan’s five-minute maximum. White the exasperated nearly man. The dominant Davis and Stephen Hendry decades.

Rob Maul covers snooker for the Sun and Shane McDermott has been a mainstay of the media room for the Mirror.

As Maul says: “You can’t ignore the history. It’s a pilgrimage I’ve done since 2018 and I feel honoured to do it, but there are people in that building who have done it for decades and decades and decades.

“That’s the unique thing about snooker: they’ve kept the Hendrys in the sport, and they’re still working. John Parrott’s commentating. And that legacy is something you don’t throw away lightly.

“When you walk around the city, you see Steve Davis, and Jimmy White will come by if he’s working. And so much has changed in other sports, but snooker’s fundamentally the same game that these legends were playing.”

McDermott says: “You see the same faces year on year, people who have been coming every year since 1977. Sadly some of them are coming less and less because of age.

“I can remember after matches perhaps nipping out of the press room for a minute and bumping into John Virgo as he left the commentary box. You’d have a little nod and say hello. That’s one thing everyone will miss this year.”

Faces in the crowd, faces in the commentary box, faces at the table. Here one year, gone the next.

In recent times, snooker has lost Virgo, Ray Reardon, Willie Thorne and Terry Griffiths, among others. Broadcaster and journalist Clive Everton and Bafta-nominated former BBC snooker executive producer Nick Hunter have left us too.

The booming voice and laughter of Thorne, the gentle humour of Griffiths, the wisdom of Everton, the dry wit of Virgo.

They were part of the fixtures and fittings.

And in their own particular ways, they each played a telling role in the Crucible becoming what it was never built to be: snooker’s home.

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

• The shift to L.A. Live will place the ceremony within a larger, campus-style complex, allowing the red carpet, show, press operations and post-show events to be staged in a more centralized footprint with increased capacity.

• The move will coincide with the Oscars’ shift to YouTube, part of a broader reset for the ceremony as it looks to expand its global reach after years of declining television viewership.

The Oscars are leaving Hollywood — or at least Hollywood Boulevard.

Beginning in 2029, the Academy Awards will move from the Dolby Theatre, their home for nearly a quarter century, to L.A. Live in downtown Los Angeles, the Academy of Motion Picture Arts and Sciences and AEG announced on Thursday. The ceremony will be held in the theater currently known as the Peacock Theater, which is expected to be renamed before the Oscars arrive as part of a new naming rights deal.

The new agreement runs through 2039. Discussions about the move have been underway for the last couple of years, according to people familiar with the planning who were not authorized to speak publicly.

The change in venue comes as the Oscars are also moving away from their traditional home on broadcast television. Earlier this year, the Academy announced that the ceremony will begin streaming live worldwide on YouTube in 2029, ending a five-decade run on ABC.

Since 2002, the show has been closely associated with Hollywood Boulevard, where the red carpet runs alongside the Walk of Fame and, for one night a year, the area becomes the symbolic center of the film industry. The Dolby Theatre sits at the corner of Hollywood and Highland, inside a retail and entertainment center near the TCL Chinese Theatre and the El Capitan.

L.A. Live offers a more centralized, campus-style setting, with venues and event spaces clustered together. The complex is adjacent to Crypto.com Arena and the Los Angeles Convention Center and is part of a larger sports and entertainment district developed and operated by AEG that regularly hosts concerts, sporting events and awards shows, including the Emmys and the Grammys. AEG has recently proposed adding a new hotel, residences and additional entertainment space to the complex, part of a longer-term expansion of the site.

In some ways, the move out of the Dolby is less a break than a return: The ceremony was staged for years in downtown L.A. at the Dorothy Chandler Pavilion and at the Shrine Auditorium before settling at the Dolby.

At the Oscars’ new home, the red carpet, ceremony, press operations and post-show events can all be staged within a compact footprint that includes the adjacent JW Marriott hotel and its ballroom. The theater itself is expected to undergo upgrades to its stage, sound and lighting systems, allowing it to be configured more specifically around the show. The move is also expected to increase capacity, a growing consideration as the academy’s ranks have expanded significantly in recent years, now numbering more than 11,000 members.

At the Dolby, space has long been tight. Each year, multiple blocks of Hollywood Boulevard are shut down for days at a time, rerouting traffic and turning the area into a heavily secured zone — conditions that were even more restrictive this year with security tightened further amid the war in Iran, including a one-mile police buffer around the theater.

The Academy had been looking for a venue that offered greater control over how the show is staged, including how the audience is arranged and how the room is used for both the broadcast and the live event. The new venue is expected to provide more room for press areas, green rooms and backstage operations, along with upgraded technical infrastructure for staging the ceremony.

Early design renderings released by the academy suggest that, for viewers at home, the Oscars may not look all that different. The stage retains the sweeping, curved proscenium that has defined the Dolby Theatre era, suggesting a similar visual approach at a larger scale, with expanded screen space and a more immersive ceiling design.

For both the academy and AEG, which owns and operates the complex, the appeal is in keeping everything in one place — arrivals, ceremony, the Governors Ball and afterparties — rather than spreading events across multiple locations. The setup also creates new opportunities for hospitality and sponsorship tied to the broader campus.

“L.A. Live was built to host the moments that define culture and there is no greater global stage than the Oscars,” said Todd Goldstein, AEG’s chief revenue officer. “Together, we will create an environment that celebrates creativity, honors excellence and delivers an unforgettable experience for movie fans everywhere.”

Taken together, the changes amount to a significant reset for the Oscars, which have seen their audience decline from more than 40 million viewers in the late 1990s to 17.9 million this year, down 9% from the previous year. Moving to YouTube offers a way to reach a broader, more global audience at a time when traditional television viewership has declined.

The Oscars will remain at the Dolby through the 100th ceremony in 2028 before making the transition the following year.

“For the 101st Oscars and beyond, the Academy looks forward to closely collaborating with AEG to make L.A. Live the perfect backdrop for our global celebration of cinema,” Academy Chief Executive Bill Kramer and President Lynette Howell Taylor said in a statement.