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G7 partners trip to theatre backfires after minister s gaffe | Politics

First published on Sun 13 Jun 2021 08.58 EDT A visit to a beautiful open-air clifftop theatre in Cornwall by partners of the G7 leaders ended in embarrassment for the UK government after the culture secretary wrongly claimed it had received emergency funding during the Covid crisis. Following the hugely successful visit to the Minack theatre, perched dizzyingly above the Atlantic, the culture secretary, Oliver Dowden, tweeted that he was delighted that Jill Biden and Carrie Johnson had visited the “stunning” theatre. But he added: “This unique venue was one of more than 650 theatres helped through Covid with support from the £2bn culture recovery fund, ensuring that it can entertain visitors for years to come.”

10 of the UK s best outdoor theatre shows this summer | Cultural trips

Move over Meghan Markle: books worth reading to your children

Move over Meghan Markle: books worth reading to your children
spectator.co.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from spectator.co.uk Daily Mail and Mail on Sunday newspapers.

10 literary teachers who are worse than you

10 literary teachers who are worse than you
spectator.co.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from spectator.co.uk Daily Mail and Mail on Sunday newspapers.

Sunny Moraine | File 770

(1) INTRODUCING BUTLER TO NEW READERS. Elizabeth Connor describes the work of “repackaging the Patternist Series for the Mother of Afrofuturism” in “How to Give Octavia Butler the Covers She Deserves” at Literary Hub. …After some back and forth and plenty of discussion with the editor acting as mediator we determined that by elegant, they likely meant more stylized human forms in more sophisticated poses, as well as a textural or brushy quality to the art (as there had been on the Parable books), that lent an air of being hand-drawn rather than machine-made. As for dynamic, we soon understood that the symmetry of the earliest comps was what the agent and estate were reacting against. By simply breaking the vertical axis and giving each cover a certain degree of asymmetry even as the figures revolved around a central “moon” shape that remained static they felt much more alive. The designer came back with revisions and, in relatively quick succession, 

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