Misfits Together, by Bastille’s Dan Smith and To Kill a King’s Ralph Pelleymounter, is set amid the 1950s’ ‘red scare’

It was lampooned as the union of the “hourglass” and the “egghead” – the marriage, in the summer of 1956, between Hollywood superstar Marilyn Monroe and Pulitzer-winning playwright Arthur Miller. Now, a new stage musical is to give a nuanced and intimate portrait of that famous relationship, treat each as trailblazers in their own way and reveal parallels between the volatile state of the US during the 50s “red scare” and now.

The production, which opens next autumn at Leicester’s Curve, is called Misfits Together, a reference to the film Miller wrote for Monroe that was released shortly after their divorce in 1961. It is a foray into musical theatre by two indie musicians, Dan Smith of the band Bastille and Ralph Pelleymounter from To Kill a King, who have recorded the score as a studio album. The first track, Oh America, is out on Thursday.

The bleak Arthur Miller-written 1961 American pastoral is rereleased to mark the 100th anniversary of the birth of Monroe, who plays a naive divorcee who meets three new suitors in her most serious and poignant role

The 100th anniversary of Marilyn Monroe’s birth, and a two-month retrospective at BFI Southbank, is the occasion for the rerelease of her most serious and poignant film, John Huston’s western drama and American pastoral from 1961. The film’s end of an era desolation feels more sombre than ever; the last film for both Clark Gable and Monroe and a melancholy late role for Montgomery Clift.

The Misfits was written for the screen by Monroe’s then husband, Arthur Miller, adapted from his own short story from a few years before. Miller’s opaque motivations are a subtext running under this movie; with a strangely uxorious dedication or vengefulness, Miller conceived the whole thing for Marilyn. It is the story of a passionate, vulnerable, childlike free spirit who finds a complex kind of excitement and freedom – flavoured with disillusion – with a real man after divorcing an emotionally blank city dweller. (Monroe and Miller divorced immediately after production.) The key irony of the title is that of course no one on screen is a misfit: they fit in all too well with the stark landscape and each other in their loneliness, their discontent and their yearning for something else or something more to live for.

He stood down as boss of the NT – and threw himself into kayaking, writing and DIY. The veteran director talks about his new start aged 60, mourning his mother – and directing Death of a Salesman in Turkish

There were several big endings for Rufus Norris in 2025, all crammed into the same few seismic months. Firstly, the close of his tenure as director of the National Theatre after a decade at the helm. That planned ending collided with the loss of his mother, who died three weeks before he left the NT. On top of that, a significant birthday concluding his 50s.

So what did Norris do after turning 60, on the other side of the Big Job, alongside the grief of losing a parent? DIY, plenty of kayaking and a house move, it turns out: “It felt important to have a complete break,” he says. “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.”

Written for Monroe by then husband Arthur Miller, the role of Roslyn is contradictory and complex

What else can you call it but star quality? It was that – that ineffable, incalculable thing that makes certain actors on film seem almost holy – which made Marilyn Monroe one of the icons of cinema, perhaps the icon. That, coupled with her untimely death, which meant Monroe never grew any older on screen, is surely why she endures even now, 100 years after her birth. Whether performing Diamonds Are a Girl’s Best Friend in Gentlemen Prefer Blondes, vamping in Niagara or throwing off sparkling dialogue in Some Like It Hot, Monroe seems to belong up there on the big screen – so much so that you might believe she never actually existed down here with us.

It’s Monroe’s last picture, 1961’s The Misfits, that shows the star was mortal after all. It begins in Reno, where Monroe’s out-of-towner Roslyn gets a quickie divorce from her absentee husband (Kevin McCarthy) before falling in with a group of local oddballs, among them an ageing cowpoke, Gay Langland (Clark Gable), and a buck-drunk bronco rider, Perce Howland (Montgomery Clift).

Exclusive: Taped conversations also cover playwright’s relationship with fame, self-doubt and communism

He was one of the greatest playwrights of the 20th century and she was one of the greatest actors. In newly unearthed recordings made over a period of nearly three decades, Arthur Miller opened up about his short-lived marriage to Marilyn Monroe, saying she wanted a husband who was a “father, lover, friend and agent,” and the child she longed for would have been an “additional problem”.

In taped conversations with his friend and biographer Prof Christopher Bigsby, Miller said he had felt “death was always on her [Monroe’s] shoulder – always”. He had believed that if he did not “take care of her life” she would come to a “catastrophic end”.

West End spectacular about beloved bear wins seven prizes, while Rachel Zegler, Rosamund Pike and Paapa Essiedu all recognised

• Olivier awards 2026: full list of winners

It was a night of sweet victory for Michael Bond’s marmalade-loving bear as Paddington: The Musical dominated the Olivier awards on Sunday. Amid the tuxes and gowns of a glittering ceremony at the Royal Albert Hall in London, the duffle coat-wearing bear got his sticky paws all over seven prizes including best new musical.

The award for best actor in a musical went to the duo who play Paddington: James Hameed provides the lovable hero’s voice and is the remote puppeteer, while Arti Shah performs in the furry costume. The show’s baddies, Tom Edden (as the busybody Mr Curry) and Victoria Hamilton-Barritt (as Millicent Clyde, who wants Paddington to literally get stuffed), won best supporting actor and best supporting actress in a musical respectively. Luke Sheppard was named best director for the production, which also picked up awards for costume design (Gabriella Slade and Tahra Zafar) and set design (Tom Pye and Ash J Woodward).

The brassy actor’s performance in Death of a Salesman is the crown jewel in a life spent on stage. He says it could be his last Broadway role

“It’s, like, 10 minutes. I pee, I have a cup of tea, I put the jacket back on and I go out and fight my way to the death.”

The way Nathan Lane describes spending the intermission of Death of a Salesman – the nearly three-hour play in which his character flails and ultimately fails through an epic depression – reflects the actor’s own spirit: practical, lightly fatalistic, artfully hyperbolic and very, very funny. Today he is in fine form, nestled into a corner table in New York’s classic Upper West Side haunt Cafe Luxembourg. When I ask him if Salesman marks his first time performing at the Winter Garden Theatre, he responds without missing a beat: “Yes, except when I took over in Mame.”

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