'The Constant Wife' by Laura Wade, based on the play by W Somerset Maugham

30 June 2025

Like many of the audience at the Swan Theatre in Stratford-upon-Avon last Saturday, we had bought tickets for the new RSC production of ‘The Constant Wife’ in order to see the Royal Shakespeare Company debut of the TV actor Rose Leslie (Game of Thrones, Downton Abbey, Vigil). So we were initially disappointed, as we entered the theatre, to see a sign saying “Due to the indisposition of Rose Leslie, the role of Constance will be played by Jessica Nesling”. But, in the tradition of many Broadway musicals, this proved to be a great opportunity for the understudy to shine. Jess Nesling seemed to fit the part of Constance like an elegant long evening glove. Laura Wade’s new version of ‘The Constant Wife’, based on the 1926 play by W Somerset Maugham, is a very clever, understated, feminist exploration of the difference economic freedom made to the lives of women in the early twentieth century. On the surface it is an old-fashioned drawing-room play, and Laura Wade preserves most of the format and plot of the original, with only a couple of subtle changes. But the themes feel much more contemporary, and a little knowing meta-textual breaking of the fourth wall keeps it from feeling like a museum-piece without damaging the integrity of the play. Tamara Harvey’s production has a great set by Anna Fleischle which manages to be both realistic and slightly exaggerated. There is original music composed for the show by Jamie Cullum and the period costumes, by Anna Fleischle and Cat Fuller, are beautiful. The cast were all strong but Jess Nesling, who was in almost every scene, fitted the calm, careful, determined ingenuity of Constance perfectly - the actor, like her character, doing things her way. 

'The Ballad of Wallis Island'

25 June 2025

On Tuesday I was at the Curzon cinema at Milton Keynes Gallery to see 'The Ballad of Wallis Island' - a beautiful melancholy comedy written by and starring Tom Basden and Tim Key, directed by James Griffiths. Tom Basden and Carey Mulligan play an estranged folk duo, persuaded to reunite for a one-off performance on a remote Welsh island by a wealthy benefactor. Tim Key's Charles uncomfortably fills every silence with inane running commentary and puns - but it is clear that every one of his awkward words has been carefully crafted by the poet Tim Key. This feels a more mature, thoughtful drama than I have seen before from either Basden or Key, though it is still very funny and has a couple of great slapstick moments. These characters get past their initial cartoonish mannerisms (irritatingly nerdy and self-importantly broody) to become properly sympathetic. The original songs (written by Tom Basden) are serious and beautiful - and excellently sung by Basden and Carey Mulligan. When the end titles started, everyone in the cinema sat in silence listening to the final song right to the end of the credits before anyone moved. And Sian Clifford almost steals the show as the cheerful, helpful but hopeless shopkeeper. It's a gentle, lovely, moving film. 

Northampton Symphony Orchestra concert

18 June 2025

Last Saturday's Northampton Symphony Orchestra 'Film Night' concert, conducted by John Gibbons, at the Spinney Theatre in Northampton was an incredibly enjoyable evening - a great introduction for those members of our packed audience who told us it was their first experience of going to a live orchestral concert. 

We started the concert with one of the most famous musical moments in film history, from Stanley Kubrick's '2001: A Space Odyssey' - the opening fanfare of 'Also sprach Zarathustra' by Richard Strauss.  When Steven Spielberg's 'Jaws' came out in 1975 I was too young to go to see it but I distinctly remember walking to school past the Scala cinema in Withington which, instead of the useful small identikit lettering to announce the film showing that week, was displaying the word JAWS in six-foot high lettering, dripping with blood! 'Jaws', which is often credited with inventing the modern Hollywood blockbuster, celebrates its 50th anniversary this year. Its success owes much to John Williams and "the scariest two notes in musical history ... a theme that catches you by the ears and drags you by the ankles", according to a recent article in The Washington Post. Our performance of John Williams's 'Suite from Jaws' featured brilliant trumpet solos from Dan Newitt. Our performance was also notable for the sinister appearance of shark fins on the heads of the first violin players.

We finished the first half of the concert with the 'Symphony No 2' by Howard Hanson, which was used for the closing credits of the film 'Alien' (without the composer's permission) and was later cited by John Williams as the model for his music for 'E.T. the Extra-Terrestrial'. Hanson is not very well known these days but was an important and influential 20th century American composer. His second symphony ('The Romantic') is a gorgeous schmaltzy piece which suggests Hanson might have been the missing link between Aaron Copland and John Williams. It features some beautiful solo horn counter-melodies which I really enjoyed playing, and our trumpet section sounded magnificent.

The second half of the concert included Ennio Morricone's 'L'Ultima Diligenza di Red Rock' from Quentin Tarantino's 'The Hateful Eight' - featuring gorgeous growling contra-bassoon solos by Frank Jordan - followed by Malcolm Arnold's music for Ralph Thomas's 1961 British film 'No Love for Johnnie' (reconstructed and orchestrated by Philip Lane) - with beautiful oboe solos by Sarah Mourant. 

For many the highpoint of the concert was the music from Hayao Miyazaki's 2004 Studio Ghibli animated film 'Howl's Moving Castle' in the Symphonic Variation "Merry-go-round" by Joe Hisaishi - particularly the solo piano theme, beautifully played by Georgina Neil.

The concert concluded with three pieces from John Williams' music for the 'Star Wars' series - from three different films: 'The Asteroid Field' (from 'The Empire Strikes Back'), 'Across the Stars (from 'Attack of the Clones') and 'The Throne Room and End Title' from the original 'Star Wars'. This provided a thrilling end to a great concert with the whole brass section in excellent form, and it was fantastic to have all seven regular NSO horn players playing the famous 'Star Wars' theme.   

Adriatic Cruise

12 June 2025

I think our cruise around the Adriatic on the Cunard ship Queen Victoria was one of our best holidays. We visited ten different places and really enjoyed them all. Before joining the ship we had a couple of nights in Rome, visiting the the Colosseum and the Forum, and walking from Campo de'Fiori to the Spanish Steps by way of the Pantheon, the Trevi Fountain and much more. Our first port of call on the cruise was Argostoli on Cephalonia in Greece where we saw ceratta ceratta sea turtles swimming in the lagoon, followed by a visit to Corfu. Next stop was Kotor in Montenegro, known as the southernmost fjord in Europe (though it is actually a ria - a submerged river canyon) which did look like Norway juxtaposed with a pretty medieval walled town very similar to Dubrovnik in Croatia, which was our next stop. We had previously visited Dubrovnik several times during our lovely holiday in Slano, Croatia, in 2017, so this time we headed straight to the Old Town Port to catch the ferry to Lokrum Island- a beautiful forested nature reserve, surrounded by deep blue sea. Trieste, Italy, is a pretty city which boasts the largest sea-facing square in Europe (Piazza Unità d'Italia). Zadar in Croatia is situated on a peninsula, with water on three sides, and reminded us of Cadiz and Valletta. Split in Croatia has a unique old town - a domino divided into two squares: the ruins of the the Roman retirement palace for the Emperor Diocletian (who was originally from Dalmatia) which is built on a strict grid system; and the later medieval old town which is a maze of irregular diagonal passageways. When we stopped in Valletta, Malta, (where we had been on our previous cruise in March) we took the opportunity to visit Mdina - a beautifully preserved medieval walled hill town that reminded us of the hill towns in Tuscany we visited last year. Our last port was Sorrento, Italy, built on the side of a steep gorge, high above the sea, from where we looked down on our cruise ship, and over to Mount Vesuvius. It was a lovely cruise with fascinating destinations and perfect weather.

You can see a small selection of my photos from the cruise here. 

'The Bean Trees' by Barbara Kingsolver

11 June 2025

Having enjoyed 'Demon Copperhead' (reviewed here in March 2024), I have now read Barbara Kingsolver's 1988 novel 'The Bean Trees'. While 'Demon Copperhead' is clearly a retelling of 'David Copperfield', this much earlier novel demonstrates Barbara Kingsolver has always written Dickensian stories - with an extended cast of quirky, loveable characters. Her focus is on the realities of working class America - people struggling to find somewhere to live and something to eat whilst still managing to show kindness to strangers. The background story of an underground railway supporting asylum seekers from Guatemala feels sadly contemporary. Barbara Kingsolver writes brilliantly in the voices and dialects of ordinary people, and every page seems to contain poetic, quotable phrases. 

'Commonwealth' by Ann Patchett

11 June 2025

I am continuing to work my way through the novels of Ann Patchett and really enjoyed her 2016 book 'Commonwealth'. Like 'Run' (reviewed here in June 2024), 'Tom Lake' (reviewed here in October 2024) and 'The Dutch House' (reviewed here in January 2025), 'Commonwealth' is a cleverly constructed family saga, which jumps forward and backwards in time to build the story of a blended family of six siblings and step-siblings who spend their childhood summers together in the Commonwealth of Virginia. It's a beautifully written examination of the complexities of what happens within families, and whose stories they are to tell. From the first page you feel you are in safe hands with Ann Patchett. 

'The Uninvited Guests' by Sadie Jones

11 June 2025

'The Uninvited Guests' is an enthralling and entertaining novel by Sadie Jones. Set in a formerly grand country house in 1912, it starts as a gently quirky comedy of manners as the family and their servants prepare the house for a birthday party. But the book quickly becomes more complicated and interesting with the arrival of unexpected guests. The story switches between puzzling, comic, sinister, surreal and farcical. It reminded me of elements of Edward Albee's 'A Delicate Balance', Arnold Ridley's 'The Ghost Train' and J B Priestly's 'An Inspector Calls', with a hint of P G Wodehouse. A gripping and enjoyable read. 

'Mr Wilder and Me' by Jonathan Coe

22 May 2025

Having enjoyed Jonathan Coe’s latest novel 'The Proof of My Innocence' (reviewed here in December 2024) I realised there was a gap in my Jonathan Coe collection. I had somehow missed his 2020 book ‘Mr Wilder and Me’, which I have now read as an unabridged audio book (narrated by Kristin Atherton). In a break from Coe’s novels set against the backdrop of recent British politics, this gentle elegiac story recounts a teenager in 1976 meeting the legendary veteran film director Billy Wilder. As he approaches the end of his career Wilder - famous for his classic comedies - is trying to make a more serious, personal movie that is not really working. Coe takes the opportunity not just to indulge his own cinephile enthusiasms but also to reflect on the experience of those who lived through the horrors of the Second World War and the difficult relationship Jewish filmmakers who left Europe for Hollywood then had with their home continent. But it is tempting to see Coe himself in this novel - famous for his satirical comedies and now trying to write a more serious, personal book which doesn’t entirely work. Nevertheless I love Jonathan Coe’s distinctive voice and carefully constructed narrative and it was good to fill this omission in my knowledge of his works.

'The Brightening Air' by Conor McPherson

14 May 2025

On Saturday we were at the Old Vic theatre in London to see ‘The Brightening Air’ - a new play written and directed by Conor McPherson, author of ‘The Weir’. Set in a remote farmhouse in County Sligo in 1981, ‘The Brightening Air’ is a dark comic tale of family relationships, focussing on three grown-up siblings and the inheritance of their family home. The influence of Chekov is plain from the start and the Irish setting reminded me of the production of 'Vanya', adapted by Simon Stephens starring Andrew Scott, that we saw last year (reviewed here in February 2024). ‘The Brightening Air’ - which takes its title from a poem by W.B. Yeats - also clearly belongs in the tradition of Irish drama from J.M. Synge to Martin McDonagh (with some particular similarities to Synge’s ‘The Well of The Saints’). The Old Vic production has a great cast, including Chris O’Dowd and Brian Gleeson as the warring brothers and Rosie Sheehy (who we last saw as Puck in the RSC production of ‘A Midsummer Night’s Dream’, reviewed here in March 2024) stealing the show as their autistic sister Billie. There are some wonderful comic lines and brilliant set-piece scenes. It was very enjoyable and I might have been missing something about the allusions to Irish folklore and magic but I wasn’t sure it all added up to a completely coherent plot.