When director Bruce Guthrie first gave me the script for Man to Man by Manfred Karge, I was immediately mesmerised by the language, each of the 27 scenes leapt off the page. Some are a few short sentences, other pages long; every one a perfectly formed fragment from a unique and potentially broken mind, flipping from prose to poetry. There are no stage directions, no character description.

Art, design and craft is such a broad category that it is no surprise – even less a criticism – that most of the nominees comfortably inhabit just one of these areas of endeavour.

I wrote The Blinding Light to try to understand the mental and spiritual crisis that August Strindberg suffered in February 1896. Deeply disturbed, plagued by hallucinations, he holed up in various hotel rooms in Paris, most famously in the Hotel Orfila in the Rue d’Assas.

The second decade of the 21st century will undoubtedly be remembered for huge innovations in accessing music, just as much as for the music itself. As well as acknowledging upfront talent, then, the Hospital Club’s h.Club 100 Music shortlist for 2017 makes it clear what’s going on behind the scenes is currently as important as what’s out front.

Sue Steward, who died suddenly last week from a brain haemorrhage, was one of theartsdesk’s most loved members, her free spirit and her double specialism in world music and photography making her an intrinsic asset to this pioneering critics’ site in 2009. Her unfussy eye for colour and composition also influenced the early design of The Arts Desk and traces remain today.

After the gruelling five-hour coach journey to Powys, Wales, we strolled over a bridge into Glanusk Park, through two security guards, and into Green Man with only so much as a sing-song “Bore da”. Satisfied, we picked a spot and set up camp in the intense heat. Young Welsh scholars waved their A-level results in the air and cracked open that first bottle of cider, quaint middle-class families eagerly discussing the multitude of vegan opportunities.

Composer, producer and multi-instrumentalist Nitin Sawhney is one of Britain’s most diverse and original creative talents.

It’s fitting that the first name on The Hospital Club's h.Club 100 film list for 2017 is that of Ken Loach. But though the director has a cinema career of more than half a century behind him – and had even officially retired before he came back to make I, Daniel Blake – his presence here is in no sense a Lifetime Achievement award. If you follow the adage, “You’re only as good as your last film”, this was Loach at his urgent best.

Plays do not usually come into being in isolation. When I search my gmail archive I see that my first communication with Robert Icke about a commission came in April 2012. Rupert Goold and Rob were still at Headlong then. I was busy so asked that we keep the conversation going but not commit to anything.

Could we be inhabiting a new golden age of theatre? It sometimes seems that way, not least in the blurring of boundaries that increasingly is the norm. Few might have guessed, for instance, that the author of the hottest play in years – Jack Thorne, who wrote Harry Potter and the Cursed Child – would be a by-product of the Royal Court.