F. Scott Fitzgerald said there were no second acts in American lives, but here’s Frasier Crane coming back for his third. Frasier first appeared on TV in the third series of Cheers in 1984. After Cheers bit the dust in 1993, Frasier was transported from Boston to Seattle and reborn in his own show, which ran until 2004 and stands as one of the most revered comedies in TV history (alongside, it must be said, Cheers).

I wouldn’t say that I am super religious, but I am definitely religion-curious. It is a big part of my family background, and, to be honest, a big part of the history of my chosen field, Western classical music. For the past 1000 years, the church has been the most powerful commissioner of Western music, and its most active employer of musicians.

Because of this, much of our foundational repertoire is explicitly on the subject of how music helps a listener get in the mood for a religious experience. And that is interesting to me.

The Sondheim gala show Old Friends is a must for fans of the master, naturally, but its quality would knock anybody who loves musical theatre for six. 

Targets (1968), Peter Bogdanovich’s first feature is generally regarded as a great film. And yet, it came out of a mixture of false starts and opportunism. Could it be that its unique quality, the elements which make it stand out in the history of cinema, owed as much as anything else to the randomness that accompanied the movie’s creation?

Sufjan Stevens, so we’ve heard, has just been struck down with a rare and immobilising disease – the Guillain-Barré syndrome. With characteristic courage and faith, he has thrown himself into physical rehabilitation. That he should be so reduced and challenged with suffering resonates perhaps with the extraordinary vulnerability that distinguishes his work – a unique avalanche of remarkable albums, generous and brave collaborations.

Dance lovers with no access to a major city could feel genuinely hard done by were it not for Dance Consortium. This sainted organisation works to bring a company from overseas each autumn to a dozen or so large-scale theatres across the UK and Ireland – theatres whose dance offering might otherwise rarely extend beyond the latest Strictly spin-off.

Less is more, except when it isn’t. Among the latest batch of overlong Oscar-tipped movies by celebrated auteurs such as Christopher Nolan (Oppenheimer with a running time of 181 minutes) and Martin Scorsese (Killers of the Flower Moon, 207 mins), it’s a relief to find the iconic Spanish filmmaker Pedro Almodóvar bucking the trend with a 31-minute short that doesn’t test the audience’s mental and physical stamina.

Big Ben was chiming the quarter-hour as I hit the South Bank side of the river after a not terribly inspiring Remain rally in Parliament Square. What delight, then, to hear the wacky and wonderful Carol Williams playing Vierne’s “Carillon de Westminster” as the opening fanfare of her Royal Festival Hall organ hour. It’s one of my two favouite organ voluntaries – the other being the most famous, “the Widor Toccata”, and she ended with that. All was well, in fact, from start to finish.

The work of the double Pulitzer-winning Black American dramatist Lynn Nottage has thankfully become a fixture in the UK. After its award-winning production of Sweat, the Donmar will stage the UK premiere of her Clyde’s next month, and MJ the Musical, for which she wrote the book, arrives in the West End in March 2024.

I have always had a fascination with concert programmes. I did my Doctorate thesis on this subject. I remember vividly as a youngster attending many uninteresting programmes and thinking “there has to be more exciting, exhilarating, interesting music for the concert goer!” What type of repertoire makes audiences come back to solo organ concerts?