There’s always the risk, when you put a tape machine in front of Michael Gambon (b. 1940), that it won’t be recording the truth and nothing but. His taste for mischief-making is legendary, his low boredom threshold a matter of fact. It doesn’t take a shrink to come up with an explanation. Film parts may take come thick and fast these days, not least in the interminable Harry Potter franchise, but Gambon loves a live audience.

The Russian composer Rodion Shchedrin has long been damned faintly by two facts - that he is the husband of the Bolshoi prima ballerina Maya Plisetskaya and that he was for a long time the president of the Russian Composers' Union in the USSR. These two things were plenty enough to remove discussion of him from the musical arena to the seething forum of politics where every Soviet composer's actions were given intense non-musical scrutiny both inside and outside the USSR.

Either it’s a bizarre accident. Or there’s something in the water. Port Talbot, the unlovely steel town in Wales where smoke stacks belch fumes into the cloudy coastal sky, has been sending its sons to work in Hollywood for decades now. Richard Burton was the first to put his glowering blue eyes and golden larynx at the service of Tinseltown. Anthony Hopkins, for all his American passport, has never shed the native tinge from his accent. And in recent years there has been Michael Sheen (b. 1969).

Richard Thomas wrote Jerry Springer, The Opera, as everyone knows - and he is soon to unveil Anna Nicole, the opera. Can this be the same Richard Thomas who’s written a dance show at Sadler’s Wells, with a cheesy poster, called Shoes? It hardly seems likely. Flames, expletives, scabrous lines, suppurating satire - that’s what makes a Richard Thomas show, not (surely) tap-dancing in platforms and ballet-dancing in flip-flops?

For the past five years British stage designer Es Devlin has been creating extraordinarily ambitious and imaginative sets for some of the biggest crowd-pullers in the music industry, from Take That to Lady Gaga. But this week she returns to her theatrical roots with a new play, Pieces of Vincent, by David Watson at the small but prestigious Arcola Theatre in London.

Over this weekend the spaces of London's Royal Opera House will be transformed by strange sounds, vaguely operatic, vaguely foresty, thoroughly chilled. The ambient atmospheres will be made by Scanner, who calls himself a “cultural engineer” and has made sounds for morgues, dances, Philips wake-up lights and chill-out rooms in clubs, during an extraordinarily eclectic career that seems to exist somewhere on the very edge of technology.

The Green Man festival takes place this coming weekend at the Glanusk estate near Abergavenny in the rolling hills of the Brecon Beacons. What begun in 2003 as a glorified gig for the husband and wife duo It's Jo And Danny has become the very epitome of the 21st-century “boutique festival” - indeed is very possibly responsible for that concept itself.

In the second part of this historic career overview interview with the unique British impresarios, Victor and Lilian Hochhauser talk about their razor-edged relations with Soviet apparatchiks and the pressures they came under to prevent artist defections. Victor (who is a very engaging raconteur) reveals the lengths the Russians tried to go to stop Pierre Boulez conducting Berg in the USSR - liver-busting ceremonial vodka sessions, and a solution of Lewis Carrollian ludicrousness. "I hated them," he says, "but we needed each other."

When the words "commercial" and "art" come together - as they do with the Bolshoi season currently at the Royal Opera House - odds are the glue between them is a three-word phrase "Victor Hochhauser presents". Victor and Lilian Hochhauser are the impresarios behind most Russian ballet seasons UK-wide, and they have a reputation for solid box-office commercial taste, which is easily dismissed as the safe option. But they are in their eighties now, and conservatism is forgivable.

Julianne Moore (b. 1960) is a true rarity. It’s not just that her hair flames like no other star since Katharine Hepburn. Or that alone of her generation she seems impervious to middle age’s indignities. There’s something else. Having worked with dinosaurs in The Lost World and a cannibal in Hannibal, she is mainstream enough to be considered a genuine leading lady. But much of her most eye-catching work, often written for her by indie directors like Todd Haynes and Paul Thomas Anderson, is fiercely extreme in spirit.