'Killing Thatcher' by Rory Carroll

28 February 2025

Robin: I’ve just finished reading ‘Killing Thatcher’, Rory Carroll’s fascinating account of the 1984 Brighton bombing of the Conservative Party Conference. This meticulously researched book examines the paths that led to Brighton for both the IRA bomber Patrick Magee and the Prime Minister. He works hard to explain the motivations both for the bombing and for Margaret Thatcher’s approach to Northern Ireland - including a brilliant six-page summary of the origins of The Troubles. The chapter recounting in detail the early hours of 12 October 1984 at the Grand Hotel in Brighton is horrific and gripping. And the tale of the subsequent manhunt is like a thrilling police procedural novel. Rory Carroll also ponders the consequences of the sliding doors moment that came so close to killing a British Prime Minister and how this would have significantly changed history in Britain and Ireland and across the world.

Spiers & Boden

25 February 2025

When we saw the brilliant folk big band Bellowhead at the Riverside Theatre in Aylesbury last November (reviewed here in November 2024) I described it as "possibly the best gig I have ever been to". So it was great to get the chance this week to see Bellowhead founders Spiers & Boden again at The Stables in Wavendon. I last saw John Spiers (melodeon) and Jon Boden (fiddle) playing as a duo at The Stables in 2022 (reviewed here in July 2022) when they were promoting their 2021 album 'Fallow Ground'. This week's performance felt very much a reprise of that tour, still mainly featuring the songs and tunes from 'Fallow Ground'. But you can't really complain about traditional folk musicians not doing new material and it was another brilliant concert. Spiers & Boden are great ambassadors for English folk music, entertainingly explaining what an orphan Morris-dance tune is, why the same tune gains completely different titles as it is passed on from one community to another, and why a lengthy narrative ballad from the 13th century survives with only a fraction of its original verses. They are also outstanding musicians and it is always a pleasure to see them live.

'Hamlet' by William Shakespeare

25 February 2025

I still have fond memories of the period when Rupert Goold was the Artistic Director of the Royal and Derngate theatres in Northampton (now more than 20 years ago). His productions were always inventive and ambitious and it has been fascinating to watch his career since, including a spectacularly over the top staging of 'The Merchant of Venice' in the newly refurbished Royal Shakespeare Theatre in Stratford-upon-Avon in 2011 (reviewed here in June 2011). Now, as he prepares to take over as Artistic Director of the Old Vic in London next year, Rupert Goold has returned to Stratford to direct a stunning new RSC production of 'Hamlet' which we saw last Saturday. He has chosen to set the play entirely on a ship, creating an even more claustrophobic feel to Elsinore with the cast trapped together by the ocean. Es Devlin's magnificent set turns the Royal Shakespeare Theatre stage into the deck of a ship, with the bow pointing directly out into the stalls, surrounded by large tanks of water, and Akhila Krishnan's video design showing the ship's wake at the rear of the set. Luke Thallon is a brilliant, restless, twitchy Hamlet, giving the famous speeches a realistic feel as he appears to be thinking out loud. He is supported by a strong cast including Jared Harris as Claudius, Nancy Carroll as Gertrude, Elliot Levey as Polonius and Anton Lesser as the Ghost and the Player King. But they all risk being upstaged by the set. As the drama becomes more intense the ship starts to move, with the whole vast stage tilting. The final scene, with the swordfight between Hamlet and Laertes taking place as the steeply angled deck starts to plunge into the waves, is genuinely thrilling - an amazing theatrical experience. 

'A Real Pain' by Jesse Eisenberg

18 February 2025

On Friday we were at the Curzon cinema at Milton Keynes Gallery to see ‘A Real Pain’. Written and directed by Jesse Eisenberg, ‘A Real Pain’ follows two Jewish cousins from New York (played by Eisenberg and Kieran Culkin) on a trip to Poland to visit places associated with their late grandmother. It’s a beautiful, subtle, moving film: the cousins’ odd-couple relationship is funny but the humour is gentle. The film explores the believable complexities of grief and pain - and the impossibility of judging hierarchies of pain. The visit to a former concentration camp is incredibly powerful, more so for its use of silence. ‘A Real Pain’ is a thoughtful film that doesn’t outstay its welcome and wonderfully resists the temptation to try to solve the challenges it presents. 

'Table for Two' by Amor Towles

14 February 2025

When we watched the 2024 Hay Festival interview with the American author Amor Towles a few weeks ago (reviewed here in February 2025) he gave a fascinating analysis of the craft of writing short stories and the different approach this requires compared to writing a novel. Amor Towles is the author of two of my favourite novels of recent years - 'A Gentleman in Moscow' (reviewed here in September 2021) and 'The Lincoln Highway' (reviewed here in February 2022) but I realised I hadn’t got around to reading his 2024 collection of short stories ‘Table for Two’. So I immediately embarked on ‘Table for Two’ (as an unabridged audio book, narrated by Edoardo Ballerini and J. Smith Cameron). It’s a series of very entertaining short stories, mostly set in New York in the late 1990s, followed by a longer novella. The stories have the feel of old-fashioned fables and Towles writes with wit, precision and gentility. Having not read a collection of short stories for many years I found it interesting that, not only do they demand a different technique from the writer, short stories also require a different approach from the reader. In these carefully crafted miniature narratives every word counts and you need to pay close attention from the start. Each story closes with a revealing twist or a satisfying denouement but it’s sometimes hard to anticipate the length and scope of the tale and I found myself concentrating to avoid being taken by surprise by a sudden ending. The stories in ‘Table for Two’ are not connected but it was very enjoyable to rediscover a character from Amor Towles’ first novel ‘Rules of Civility’ whose story picks up directly from her departure from the novel.

Hay Anytime

7 February 2025

We have been regular attenders of the Edinburgh International Book Festival since 1995, usually taking in a few sessions each August while we are in Edinburgh for the Fringe. But we tend to find that the majority of the authors featured in the festival programme are unfamiliar to us. Although we've never been to the Hay Festival, we are enthusiastic users of its extensive online archive which is so big it seems to include all our favourite writers. We first discovered the Hay Player during lockdown when we watched the recording of Natalie Haynes' bravura summary of the whole of the Trojan War in just over an hour, 'Troy Story' (reviewed here in July 2020). Hay Anytime contains thousands of audio and film recordings from the past 20 years of the Hay Festival and costs £20 for an annual subscription. We've recently watched talks and interviews from the past couple of Hay Festivals about some of our favourite recent books - including Jasper Fforde talking about 'Red Side Story' (reviewed here in April 2024), Mick Herron reflecting on his 'Slough House' series of comic spy novels (reviewed here between November 2023 and June 2024) and William Dalrymple discussing 'The Anarchy' (reviewed here in June 2023). And in his May 2024 Hay Festival interview, the American author Amor Towles (author of 'A Gentleman in Moscow', reviewed here in September 2021 and 'The Lincoln Highway', reviewed here in February 2022) gives one of the clearest, most interesting explanations of the process of writing fiction that I've heard. There are so many gems in the Hay Anytime archive you are sure to find something for you. Highly recommended.

Battersea Power Station

31 January 2025

On Saturday we made a first visit to the recently restored Battersea Power Station in London. This iconic Art Deco building designed by J. Theo Halliday and Giles Gilbert Scott has been beautifully refurbished to create a complex of shops, restaurants and a cinema on the banks of the Thames. Compared to the Bankside Power Station that became the Tate Modern Gallery with its huge turbine hall, Battersea is on a different scale with its dual turbine halls and immense chimneys. It feels like a secular version of a Norman Cathedral - but bigger! We were there to see The Light Festival 2025 - a free interactive art trail of eight light installations by artists inside the Power Station and in the area outside it. We also took the journey up Lift 109, a large circular elevator that rises through one of the Power Station's giant chimneys to emerge above the top of the chimney (like 'Charlie and the Great Glass Elevator') with 360 degree views across the Thames and most of London. It was a bright sunny day and the views from 109 metres above the river were spectacular. But it's the building itself that's the star, a redbrick Art Deco behemoth dwarfing everything around it. Well worth a visit.

'Starlings' by Dekel

23 January 2025

I'm really enjoying 'Starlings' - a lovely album from the singer songwriter Dekel which spans a variety of styles including folk, swing and klezmer. The songs are light, gentle and uplifting, accompanied by acoustic instruments including guitar, accordion, 'cello and clarinet. It's a thoughtful, joyful collection which reminded me (because of its Eastern European/Balkan influences) of the albums by Beirut (reviewed here in November 2006 and October 2007) and the Warsaw Village Band (reviewed here in September 2008). You can listen to Starlings here.

'Here One Moment' by Liane Moriarty

16 January 2025

Over the last couple of years I have enjoyed discovering the novels of the Australian author, Liane Moriarty, including 'Apples May Fall' (reviewed here in September 2022), 'The Husband's Secret' (reviewed here in September 2023) and 'The Hypnotist's Love Story'. Her latest novel, 'Here One Moment', published in August of last year, is an easy and enjoyable read with interesting structure and a surprisingly life-affirming perspective on mortality. 'Here One Moment' brings together a diverse group of characters on a flight from Tasmania to Sydney. When a woman on the flight announces when and how each of the other passengers is going to die this shocking news is the catalyst for a series of short stories, each focusing on the individual reactions of the characters to their impending deaths. This feels like the start of a supernatural ghost story, but Liane Moriarty cleverly shifts the focus to the human experience, offering a charming and surprisingly optimistic take on a serious subject.

'Dr Strangelove' adapted by Armando Iannucci and Sean Foley

15 January 2025

Stanley Kubrick's classic bleak cold war satire 'Dr Strangelove or: How I Learned to Stop Worrying and Love the Bomb' came out in 1963, eighteen months after the Cuban Missile Crisis. It painted a chillingly believable scenario in which the carefully poised balance of the nuclear deterrent could be tipped into mutually assured destruction by the actions of one unhinged individual. On Saturday we were at the Noel Coward Theatre in London's West End to see the new stage adaptation of 'Dr Strangelove' by Armando Iannucci and Sean Foley. The film is famous for Peter Sellers' portrayal of multiple characters and the stage version features Steve Coogan playing four parts (the three played by Sellers but also Major Kong - memorably played by Slim Pickens in the film). It was fun to see the film recreated on stage and there were some great comic performances from the (almost  entirely male) cast, but as a two hour play it really needed a bit more plot. Steve Coogan is very funny in all four roles and it was great to see him on stage but apart from the enjoyable game of watching how he is going to manage to switch from one character to another in the same scene the show felt a bit slight. I did however enjoy the recreation of the famous scenes from the film through Hildegard Bechtler's magnificent set, particularly the US President's War Room with its 'big board'.

'The Dutch House' by Ann Patchett

8 January 2025

It's a very enjoyable feeling settling into a novel by Ann Patchett: you're never quite sure where she is going to take you,, but you know from the start that you're in safe hands. Having enjoyed four of her books over the past couple of years (including, most recently 'Tom Lake', reviewed here in October 2024) I have just finished reading her 2019 novel 'The Dutch House'. This is a clever family saga about a childhood in a beautiful but intimidating house, interrupted by the arrival of a new stepmother. It's beautifully written and carefully constructed through a first person narration that flits backwards and forwards in time to gradually fill in the family story.

'Twelfth Night' by William Shakespeare

6 January 2025

On Friday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see 'Twelfth Night'. It was a very enjoyable show, directed by Prasanna Puwanaraja, featuring Samuel West as Malvolio. The set, by James Cotterill, included a huge pipe organ, the pipes standing in for the box tree. Gwyneth Keyworth was a determined and purposeful Viola, Freema Agyeman a strong Olivia and Demetri Goritsas as an American accented Sir Andrew Aguecheek demonstrated comically balletic movement worthy of the Scarecrow in The Wizard of Oz. Michael Grady-Hall's Feste was a clown with the voice of an angel and his Wind and the Rain concluded the play with a delicate poignancy.

'Oedipus' by Robert Icke (after Sophocles)

6 January 2025

Last Monday we were at Wyndham's Theatre in London's West end to see the excellent new version of 'Oedipus' written and directed by Robert Icke (after Sophocles). Mark Strong and Lesley Manville were outstanding as Oedipus and Jocasta and the modern setting - the family awaiting the result of an election that would put Oedipus in power - worked very effectively. His promise to quell rumours that he hadn't been born in the country by publishing his birth certificate (echoing the Obama birther controversy) was a clever way to make this the moment that his mother had to tell him the truth about his origins.

'Death and the Penguin' by Andrey Kurkov

6 January 2025

I remember reading about the Ukrainian author Andrey Kurkov's satirical black comic novel 'Death and the Penguin' many years ago but I've only just got around to reading it. Originally published in 1996 (with the English translation appearing in 2001) it's a quirky, bleak, political satire of life in post Soviet Ukraine. The protagonist, writer Viktor Zolotaryov, feels a bit like Winston Smith in '1984', living a bland existence, not entirely sure what is going on and in constant fear of the authorities. Invited to write obituaries for a newspaper, he becomes naively embroiled in a ring of corruption and murder. But, while stuck in a strange limbo, he randomly collects an array of friends, including some genuinely charming relationships which reminded me of Amor Towles' 'A Gentleman in Moscow' (reviewed here in September 2021). 'Death and the Penguin' is an odd tale, funnier for carefully rooting its oddest aspects in a meticulously accurate reality.

'The Power Broker' by Robert Caro

18 December 2024

When we saw David Hare’s play ‘Straight Line Crazy’, about the legendary New York urban planner Robert Moses, a couple of years ago (reviewed here in April 2022) I suggested that the two main incidents dramatised in the play would have made brilliant episodes of the design podcast '99% Invisible’. So when I learned, in December 2023, that ‘99% Invisible’ was planning to spend the whole of 2024 running an extended ‘online book club’ to celebrate the 50th anniversary of ‘The Power Broker’ - Robert Caro's Pulitzer Prize-winning biography of Robert Moses - I was immediately on board. ‘The Power Broker’ is a monumental 1,300-page work which masterfully chronicles how Moses, never elected to public office, became one of New York's most influential figures. He transformed the state through ambitious park and highway projects, while his ruthless approaches to securing and maintaining power developed a horrific web of corruption, prejudice and racism. ‘The Power Broker’ is brilliantly written and meticulously researched: Robert Caro conducted 522 interviews with those with firsthand experience of the relevant events - including Moses himself - and took seven years to write the book. I have been reading roughly 100 pages each month, in time to listen to each of the 12 monthly podcast episodes reflecting on the relevant chapters and featuring guests including Pete Buttigieg and Alexandria Ocasio-Cortez. Incredibly Robert Caro, now aged 89, is still writing (trying to complete the fifth volume of his mammoth biography of Lyndon B Johnson) and it was fascinating to hear him interviewed on the podcast. As 2024 draws to a close, I feel a sense of accomplishment joining the select group who have read the whole of ‘The Power Broker’ and I'm struck by how its themes of power, urban planning, and social equity remain startlingly relevant today, 50 years after its publication. You can find more details about the 99% Invisible Breakdown of The Power Broker and listen to the podcasts at: https://99percentinvisible.org/club/

Northampton Symphony Orchestra concert

17 December 2024

For the past 25 years the Northampton Symphony Orchestra’s annual Christmas Cracker concert has, for me, marked the start of the festive season. This Sunday afternoon family-friendly event is always huge fun and this year’s concert, at the Spinney Theatre in Northampton last Sunday, attracted a large, enthusiastic audience. Alongside a few Christmas carols and Leroy Anderson’s ‘Sleigh Ride’ we always include a narrated piece. This year’s choice, Iain Farrington’s ‘The Scary Fairy Saves Christmas’ was new to most of us but incredibly enjoyable. The words, by Craig Charles, written in rhyming couplets, are dark, mischievous, witty, occasionally controversial and very funny - assembling a cast of goblins, elves, witches and dwarves to create a bleakly comic version of ‘The Twelve Days of Christmas’. Our performance, narrated by William Thallon, went extremely well, with conductor John Gibbons co-ordinating the complicated joins between music and narration in this long piece very effectively. The rest of the programme included ‘A Christmas Dance’ - Frank Bridge’s lovely interweaving of the folk dance ‘Sir Roger de Coverley’ (which is mentioned in Charles Dickens' ‘A Christmas Carol’) with ‘Auld Lang Syne’. And, following our recent performance of  JS Bach’s 'Toccata and Fugue' arranged by Stokowski, on Sunday we played another piece from 'Fantasia', ‘The Sorcerer’s Apprentice’ by Paul Dukas. This is a notoriously difficult piece (particularly as it is so well known) but I think our performance was very impressive, featuring brilliant performances by the bassoonists, Sian Bunker, Tim Hewitt, Heather Pretty and Frank Jordan. We always include some film music in the Christmas Cracker and this year we concluded the concert with selections from the ‘Harry Potter Children’s Suite’ by John Williams. This kept William Thallon busy as he both played the iconic celeste theme and read new verse introductions to each of the movements, written specially for the concert by Frank Jordan. The movements from the suite featured the different sections of the orchestra in turn (with excellent recorder playing by Graham Tear and Helen Taylor and dramatic violin solo by Richard Smith in ‘Diagon Alley’), before bringing us all together in ‘Harry’s Wondrous World’, introduced in Frank’s words:

So as the season casts its spell,
We wish you joy and hope as well.
May Christmas shine, bright and true,
With magic and wonder surrounding you.
Merry Magical Christmas!

The NSO Horns at Hogwarts

'The Proof of My Innocence' by Jonathan Coe

13 December 2024

Jonathan Coe is one of my favourite writers and I particularly enjoy his novels that set fictional events against the backdrop of recent British Politics - from the Thatcher Government of the 1980s (in 'What a Carve Up!') to New Labour (in 'The Closed Circle') to Cameron's Coalition Government (in 'Number 11’, reviewed here in January 2016) to Brexit (in 'Middle England', reviewed here in January 2019). His latest book, 'The Proof of My Innocence', which I have just finished reading (as an unabridged audio book, narrated by Sam Woolf, Alana Maria, Charlotte Worthing, Mark Stobbart and Roy McMillan) is set during Liz Truss's 49-day tenure as Prime Minister. While it does explore the Conservative Party's lurch to the right, 'The Proof of My Innocence' is also a murder mystery, with Coe parodying the current trend of 'cosy crime' novels (much like Kate Atkinson did in her recent Jackson Brodie novel 'Death at the Sign of the Rook', reviewed here in October 2024). But overall it's a novel about writing, where nothing is quite what it first seems (even the title has a double meaning). Much like David Lodge's 'Therapy' this is a novel where it pays to think about who is telling each section of the story. Like David Lodge, Jonathan Coe writes accessible, entertaining prose that is much cleverer than it first appears. 'The Proof of My Innocence' is not his funniest work but it is a very enjoyable and satisfying puzzle.

'Just Another Missing Person' by Gillian McAllister

13 December 2024

Gillian McAllister writes crime thrillers that are meticulously plotted and genuinely scary, with twists that repeatedly pull the ground out from underneath the reader. Having enjoyed her previous three books I have now finished her latest novel 'Just Another Missing Person'. This appears to be a fairly conventional tale of the police investigating the disappearance of a young woman, but it quickly becomes much more complicated. Each chapter is presented through the eyes of one of the main protagonists but we are never properly introduced to these narrators so we naturally make assumptions about their role in the story, misleading ourselves ahead of the inevitable plot twists. This is fiction you have to read squinting between your fingers at times but it is always gripping.

'Come From Away' by Irene Sankoff and David Hein

5 December 2024

On 11 September 2001, when US air space was closed following the terrorist attacks on the World Trade Centre, 38 transatlantic flights that were in the air en route to America were diverted to the airport in Gander, Newfoundland. This tiny Canadian town had a usefully large airfield because it was built as a refuelling stop in the days when planes couldn't make it from Europe to the States in one hop. Suddenly, on 9/11, the 9,000 inhabitants of Gander were faced with accommodating the unexpected arrival of 7,000 tired, confused and scared passengers who had not yet been told why their flights couldn't continue to the USA. In 2013 the remarkable story of the Newfoundlanders' hospitality became a very successful stage musical, 'Come From Away' with book, music and lyrics by Irene Sankoff and David Hein, and on Saturday we were at Milton Keynes Theatre to see it. 'Come From Away' is a lovely show - moving, poignant, funny and inspirational. It uses ensemble narration, with each member of the large cast stepping up in turn to tell us the story of those few incredible days, while constantly rearranging chairs to become passengers on an airplane or customers in a bar etc. The music - provided by a lively on-stage band - draws on the folk music of the Canadian maritime provinces with its Celtic influences. The musical doesn't shy away from the painful reality of the terrorist attacks but it's ultimately a celebration of humanity and the entire sold out audience of 1,400 people rose to their feet at the end in genuine warmth. Do go to see 'Come From Away' if you get the chance.

Mozart Requiem

28 November 2024

On Saturday we made a first visit to the Bristol Beacon concert hall to see a performance of Mozart’s Requiem with Bristol Ensemble. This was the culmination of Massive Mozart - a Bristol Beacon Community Programme project. 214 local singers had spent the day working with the choral conductor Jeremy Jackman. Their performance was very impressive: it was lovely to hear such a large chorus and the orchestra and soloists (Harriet Eyley, Samantha Price, Elgan Llyr Thomas and Benson Wilson) were all excellent.