'George R. R. Martin's Game of Thrones: The Mad King' adapted by Duncan Macmillan

11 August 2026

Arriving at the Royal Shakespeare Theatre in Stratford-upon-Avon on Monday to see the first stage show based on George R. R. Martin's 'Game of Thrones' novels felt like proper event theatre. Firstly, we all had to have 'Game of Thrones' branded stickers placed over the cameras of our smartphones to emphasise the strict no filming or photography rule. Secondly, the audience weren't allowed into the auditorium until a few minutes before the start of the play. And thirdly, the inside of the Royal Shakespeare Theatre has been completely transformed for this production, with much of the seating moved from its normal position, to allow the usual thrust stage to be narrowed and extended into a cruciform platform stretching the full length and width of the auditorium. With additional seating placed on three levels on what is usually one end of the stage, the theatre has become a spectacular immersive space for a performance in the round. Unfortunately, this meant that the seats we had chosen, which were marked as having a restricted view, were not the RST's usual 'restricted view', requiring you to peer slightly around a pillar, but were completely restricted by a newly inserted wall that prevented us seeing anything happening at one end of the stage. There were three moments during the play where it was hard to follow important plot developments because we genuinely had no idea who was speaking. Duncan Macmillan's play, 'Game of Thrones: The Mad King', is a prequel to 'A Game of Thrones' - the book that formed the start of the HBO TV series. The play concerns the final days of the reign of Aerys II Targaryen - the Mad King of the title. The plot draws on references in several George R. R. Martin books to events in this period and features the younger versions of several characters familiar to audiences of the TV series. The play works as a standalone story but I think it would be incredibly hard to follow if you weren't familiar with the books or the TV series. I'm glad we had re-familiarised ourselves with the world of Westeros by reading a brief synopsis before seeing the play. Dominic Cook's Royal Shakespeare Company production is spectacular, boasting a cast of 36 and lasting nearly four hours. it's interesting that it uses very little modern technology. Like 'Harry Potter and the Cursed Child' (reviewed here in August 2025), it relies more on old-fashioned stagecraft. In particular the puppetry, by Nick Barnes, creates amazing life-size metallic horses, similar to those pioneered by 'War Horse' (reviewed here in October 2015). Chloe Lamford's set features two 'wow' moments - a brilliant realisation of a sacred heart tree in the godswood, with the trunk rising from beneath the stage to mesh with the branches being lowered from above: and the thrilling emergence from under the stage of the infamous Iron Throne. George R. R. Martin's stories have always had quite a Shakespearean feel to them and it's interesting to see the Royal Shakespeare Company taking on this modern giant of fantasy fiction. So it was funny that like some of the Shakespeare history plays, an already complicated plot became additionally confusing with the introduction, late in the play, of characters who hadn't appeared until that point but seemed necessary to link this prequel to the familiar stories that follow. The whole initial run of the play is completely sold out and there was a packed, enthusiastic audience on Monday evening. It's an entertaining and satisfying experience -not quite Shakespeare, but very enjoyable.

'Arcadia' by Tom Stoppard

10 August 2026

I've always enjoyed the plays of Tom Stoppard - from 'The Real Inspector Hound', 'Rosencrantz and Guildenstern Are Dead', 'The Real Thing', 'Travesties' and 'Jumpers' to 'The Hard Problem' (reviewed here in April 2015) and ‘Leopoldstadt’ (reviewed here in February 2022). I was even lucky enough to see Stoppard giving a pre-show talk before a performance of ‘Every Good Boy Deserves Favour’ at the National Theatre in 2009 (reviewed here in February 2009). When Tom Stoppard died in November 2025, reading the obituaries and tributes I was reminded that I had never seen the play that has often been described as his best work. I remember reading the reviews of the original production of 'Arcadia' at the National Theatre in 1993 but I didn't manage to get to see it. I did, though, really enjoy the audio recording of the play by that original cast (including Rufus Sewell, Felicity Kendal, Bill Nighy and Emma Fielding) which was broadcast on BBC Radio 3 in 1993. On Saturday I finally got to see 'Arcadia' on stage, at the Duke of York's Theatre (soon to be renamed the Tom Stoppard Theatre) in London's West End. Carrie Cracknell's production opened at the Old Vic in January this year and transferred to the West End in June. The production is presented in the round and we decided to get seats on the stage, which gave us a wonderful close-up view of the actors: most of the time it felt like we were watching a studio production. 'Arcadia' is a brilliant play. Set in a grand country house in Derbyshire in two different times (1809 and 1993) it shows modern academics researching the early 19th century events at the house, which we also see directly. This is a canvas for Stoppard to explore a range of ideas and themes, including mathematics, iterative algorithms, chaos theory, academic methods, the picturesque and landscape gardening. This preponderance of topics helps to avoid the script becoming too didactic, as the pomposity of certain characters is constantly pricked by interruptions and digressions by their peers. It's also a very funny play, with an extensive cast who are initially confined to the scenes set in their own timeline but then begin to cross over with their counterparts from another age. It's a great cast: Oliver Chris channels Bill Nighy as the Tiggerish academic Bernard Nightingale, for whom Nikki Amuka-Bird's Hannah Jarvis is more than a match, and Angus Cooper's Valentine Coverly is a gentle, sympathetic referee between them. Yolanda Kettle is commanding as Lady Croom and Seamus Dillane as the tutor Septimus Hodge is witty, knowing and charmingly disreputable. But Isis Hainsworth steals the show as the teenage mathematical product Thomasina Coverly - a proto-Ada Lovelace. It was particularly interesting to see 'Arcadia' so soon after reading Ian McEwan's novel 'What We Can Know' (reviewed here in August 2026) which has a very similar structure - with academics trying to unearth the details of the events of a previous century through the discovery of written sources - and slightly misinterpreting them. And both plots revolve around the works of a poet. But Stoppard is much funnier.

'What We Can Know' by Ian McEwan

10 August 2026

Ian McEwan's 2024 novel 'What We Can Know' is an impressive achievement. A historian in the year 2119 is researching the work of the early 21st century poet Francis Blundy and, in particular, his legendary missing poem from 2014, 'A Corona for Vivien'. To frame this scholarly literary detective story, McEwan has constructed a detailed history of the next 100 years, complete with climate disasters, nuclear war and more. But what he is really exploring is the unreliability of historical written sources, control of one's own narrative and the making of myths. It's an incredibly clever novel which I think I enjoyed all the more because I hadn't heard anything about it before reading and had no idea where it was going.

'Lady Oracle' by Margaret Atwood

5 August 2026

'Lady Oracle' is an early novel by Margaret Atwood, first published in 1976. I hadn't heard of the book when I started reading it and had no idea what to expect. I found the opening chapters, in which the narrator arrives at her holiday home in Italy, having apparently faked her own death, quite confusing, but once she started to tell the story of her childhood in Toronto the novel grabbed my attention. With hindsight it was fun coming to this tale without any prior knowledge of it, so I won't give much away here. I enjoyed the book but I still feel a bit unsure what I thought of it. On the face of it, its quite a miserable story - but it is told with a comic flair and boasts a cast of brilliantly eccentric characters (who all seem to have the habit of reappearing just when you had forgotten them!). 'Lady Oracle' does have the feel of an early work, perhaps throwing too many ideas into the mix. But it is clearly written by a skillful author - and the fact that the first person narrator is also a novelist makes it hard to know how much of her account of her life we should believe. An intriguing and entertaining read.

WOMAD 2026

29 July 2026

When the WOMAD Festival moved to Charlton Park in Wiltshire in 2007 (reviewed here in August 2007) that first festival at the new site was beset by problems, exacerbated by the constant rain that created a sea of mud. Last weekend's first post-Charlton Park WOMAD, at the festival's new home of Neston Park near Corsham in Wiltshire, seemed to have learned much from the 2007 experience - and also benefited from near perfect weather. For the first outing at this new venue (after a fallow year with no festival in 2025), everything seemed to go extremely smoothly. Neston Park feels smaller than Charlton Park (the WOMAD programme described it as "more intimate") but the numbers attending seemed to fit the space well. I soon got the hang of the new layout of the festival arena (though it took me until Saturday afternoon to realise that the beautiful path through the sunflower field provided a handy shortcut between the two halves of the arena). I'm not sure they had got the positioning of all the stages quite right but I expect the necessary tweaks will be in place by next year's festival. And, for me, 2026 was, musically, the best WOMAD for quite a while. I saw 23 performances over the three days, including 15 full sets, and there were many many highlights. It was great to see WOMAD founder Peter Gabriel on stage on Saturday afternoon to pay tribute to the WOMAD Festival Director Chris Smith who is retiring after 20 years in charge. Later in the day I found myself standing immediately behind Peter Gabriel in the crowd in the Sunflower Tent, watching the band LYR, featuring the Poet Laureate Simon Armitage. I really enjoyed Derya Yıldırım & Grup Şimşek and their 1970s psychedelic version of traditional Anatolian folk music. I was charmed by the intergenerational group representing the Lăutăresele Şaraimanic project that celebrates music from the variety of different ethnic communities in Romania. While these performances of Anatolian and Romanian folk music presented the traditional in an innovative modern way, the Mexican brass band Mixanteña de Santa Cecilia performed music from the Pacific coast of Mexico in a way that appeared to be completely historically authentic, with traditional costumes and dancers, but was no less thrilling. Bénin International Musical's "incendiary voodoo sound of West Africa" was engaging and varied. And I loved the Brooklyn disco funk of Say She She. Amidst these big danceable shows on the main stage, I'm pleased I also found the time to see Pakistani musician Ustad Noor Bakhsh on the smaller Village Stage. He plays the benju - a zither with typewriter-style keys, played like a lap-steel guitar - and he only found international recognition when already in his late seventies. His hypnotic fast-picking tunes found an enthusiastic audience at WOMAD and provided a beautiful opportunity for contemplation. But my favourite moments of the 2026 WOMAD Festival were the polyphonic vocals of the Occitan group Barrut from Southern France and the high energy singing and dancing of Galician female folk trio Tanxugueiras from Northern Spain. In both cases I found myself thrilled to have chosen to be at those stages at that time and thinking I will remember these performances for many years.

'When the Wind Blows' by Cyril Hare

28 July 2026

Gareth Coles and I have enjoyed a long-running debate about the rules of detective fiction over many years. I have written here several times (initially in May 2014) about my own first two rules: 1. The reader should not know any more than the detective and 2. The detective should work out 'who done it' from the clues they unearth, rather than being handed the solution on a plate by a turn of events. I'm very grateful to Gareth for giving me a copy of 'When the Wind Blows' by Cyril Hare - a detective novel that could have been designed specifically with new in mind. A murder mystery very much in the style of the golden age of detective fiction (though published a little later, in 1949), it not only follows my rules but revolves around a symphony concert by a local amateur orchestra. Cyril Hare was the pen name of the judge Gordon Clark. He was a prolific writer of detective stories and 'When the Wind Blows' demonstrates his legal knowledge. Though it deals with a brutal murder, the book has a gentle comic tone that reminded me of 'Three Men in a Boat' by Jerome K Jerome. It unintentionally reveals much about the social norms of they period, some aspects of which feel quite uncomfortably dated now. But, although it is set more than 75 years ago, I can confirm that the description of an amateur orchestra committee meeting remains hilariously accurate! 

'Whistler' by Ann Patchett

26 July 2026

From the knowledge I cleaned from 'These Precious Days', Ann Patchett's book of essays (reviewed here in June 2026), on starting to read her new novel, 'Whistler' (as an unabridged audio book, narrated by the author), I quickly realised that this was going to be a particularly autobiographical novel. Daphne, through whose eyes we discover this story, has three fathers (her biological father followed by two stepfathers) - as does Ann Patchett herself. There are several other links between the character and her author. And 'Whistler', like the essays in 'These Precious Days' focuses on themes of mortality, family relationships, storytelling and the writing process. It's a confident, mature novel that is beautifully constructed. Several times, something is referred to that hasn't yet been explained and I found myself flicking back to see if I had missed something. But soon you realise you can trust Ann Patchett: everything will be explained in time. You are in safe hands and the way stories are told is part of the story she is telling. 'Whistler' is a deceptively simple family tale - beautiful, sad, moving and funny.

'Les Liaisons Dangereuses' by Christopher Hampton

23 July 2026

Christopher Hampton's play 'Les Liaisons Dangereuses', based on the novel by Pierre Choderlos de Laclos, was first staged by the Royal Shakespeare Company in 1985 with a cast including Alan Rickman, Lindsay Duncan, Juliet Stevenson and Fiona Shaw. In that production the part of the naïve teenager Cécile de Volanges was played by Lesley Manville. 41 years later, Lesley Manville takes the lead as the Marquise de Merteuil in Marianne Elliott's new production of the play for the National Theatre, which we saw in a NT Live screening at the Rufus Centre in Flitwick on Wednesday. Lesley Manville is wonderful, as is her partner in crime Aidan Turner as the Vicomte de Valmont who plays his part with a lupine glee - like the wolf in Red Riding Hood. Marianne Elliott's production is on a grand scale, with an extensive cast, wonderfully choreographed by Tom Jackson Greaves. But I think the play worked better on the intimate stage of the Donmar Warehouse in Josie Rourke's 2016 production (reviewed here in January 2016). Christopher Hampton's script is delicious, with its Oscar Wilde-like reversal of conventional morals, but the seduction scenes now feel very uncomfortable, the perpetrators' eventual comeuppance never excusing the damage done to their victims.