I’d always wanted to write a musical, but I didn’t start actually trying until four years ago. Now four years on, my first show, Everybody’s Talking About Jamie, is about to hit the West End –  that’s four years to go from no show, no idea and no experience to opening at the Apollo Theatre. It’s utterly crazy, I still can’t believe it – and this is how it happened...

Annual lists of the richest, the most powerful, the movers and shakers, have an awful fascination: like gossip, we like to look and comment while feeling slightly morally compromised. But they also have a function as a snapshot of where we are at. This time it’s the turn of the art world’s most influential figures, as chosen by the magazine ArtReview, which each year creates a talking point for itself replete with embargoes and PR. 

Oliver Sacks was the neurologist – and historian of science, and naturalist – whose exceptionally elegant, clear and accessible prose has captivated that almost mythical creature, the general audience, through more than a dozen books as well as many essays.

An encounter with Homer Flynn is disconcerting as the extent of his involvement in The Residents is unclear. He acknowledges that he speaks for the eyeball-headed quartet whose identities are unknown. As he talks, it's clear he has intimate knowledge of their creative process, their motivations and what they think. He discusses them as “they”. Occasionally the word “we” is used.

Since its inception in 1997 Fierce, Birmingham’s International Festival of Live Art & Performance, has championed the work of performance makers not often seen in Britain. The pantheon of body artists under Mark Ball’s era as director included the likes of Franko B, Ron Athey and Kira O’Reilly. Under the helm of previous director duo Laura McDermott and Harun Morrison came experimental European choreographers and theatre-makers such as Eva Meyer-Keller, Kate McIntosh and Lundahl & Seitl.

Held auspiciously on the hundredth birthday of one of the giants of the music, composer and pianist Thelonious Sphere Monk (1917-1982), the winners of this year's Parliamentary Jazz Awards were announced at a congenial ceremony at London’s newest live venue, PizzaExpress Live Holborn.

The autumn season of plays at the Royal Court leads with international work. B by Guillermo Calderón (from Chile), Bad Roads by Natal'ya Vorozhbit (from Ukraine) and Goats by Liwaa Yazji (from Syria) have a long history with our international department. We probably have to go back over a decade to look at the seeds of this work and the connections they have to one another and to each of us.

THE ROAD TO BAD ROAD

Some will rob you with a six-gun
And some with a fountain pen.…

I was around 12 years old when I first heard those lines, from “Pretty Boy Floyd”, written by Woody Guthrie and sung by Joan Baez on a live album recorded on her 1962 tour of America’s black campuses. I couldn’t fathom what they meant – how could you be robbed with a fountain pen?

All theatre workers have a day that they dread. For actors there is a particular terror about a first preview that can fuel those performances with adrenaline. For playwrights - well, for me at least - it is the first time a play is ever read out loud by a company of actors. This never fails to shred me. I had been working as a playwright for five years, though, before I realised how much directors hate the first day of rehearsal.

My friend, the playwright Robert Holman, says that the writing of a play is always “the product of a moment”. Of course, he’s right, but sometimes you have to pick your moment.