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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
Sue Steward's rating
Reader rating
Description: Photographic document of the ten years following punk.
Phone: 0207376 7129
Trains: Tube: Sloane Square 
Blank eyes: Marianne Faithfull performing at the Donmar in 1982, one of many David Corio images in his new exhibition
The Mosh Pit is that dungeon-dark trench in front of the stage where photographers are expected to capture a Cartier-Bresson "decisive moment" image of a rock star's brilliance.
Luck is a vital accomplice but split-second eye to finger control is also essential; David Corio possesses both.
Arriving into photography as a star-struck 16-year old in 1976, via his sister's then boyfriend, Wreckless Eric, who got him into gigs, he rapidly coasted through fanzines to become an NME favourite.
This exhibition spans that alluring decade in British music, 1977-87, through black-and-white portraits which challenge music business marketing rules.
Corio caught Miles Davis in his back to the audience phase, turning for a split second and presenting a rare view of him playing trumpet. A single beam highlights Nina Simone's broad African forehead and eyes like Cleopatra's surrounded by dark space.
More generous lighting preserves Grace Jones defiantly dancing in a suit, and James Brown concentrating during a spectacular Sex Machinist's leap.
Corio's signature images of Bob Marley (around 1980) take the flying dreadlocks to near abstraction but also transmit the singer's spiritual immersion in his songs.
Off-stage portraits often require guile, and when Corio approached Johnny Rotten from behind and cooed "Jonathan" to the man cornered by a press pack, Lydon turned and surely gave him the best shot.
Corio navigated a strip-light's reflection onto Joe Strummer's pupils as he stared blankly into the camera. Of the four fresh-faced Irish boys posing for U2's first NME story, only Bono revealed any emerging charisma.
Corio's respect for the era's iconic women includes dynamic portraits of Chrissie Hinde, Tina Turner and Marianne Faithfull, whose short hair, cigarette and neat schoolgirl's blouse jar with the blank eyes.
The exhibition marks Corio's return after 15 years in the adult world of New York Times portraiture, drawn like that 16-year old in 1976, to London's still buzzing culture.
Details are correct at the time of publication - please check with venue before booking.
