Israeli-born choreographer Hofesh Shechter has had a meteoric rise. Ten years ago, he was a dancer in somebody else’s company who had just taken a couple of steps into choreography. Now he has his own full-time company, can pack out Sadler’s Wells twice a year, and gets invited to stage his creations for top international companies like Nederlands Dans Theater.

Trumpeter and composer Rory Simmons is one of the most innovative and diversely talented musicians on the contemporary jazz scene, genre-hopping with startling agility across its many cutting edges. Fringe Magnetic, Simmons’ acclaimed 11-piece band, has been blending the compositional rigour of classical music with the freer playing style of jazz for nearly five years now. He’s a core member of the LOOP Collective, and has collaborated across Europe with jazz stars including Barak Schmool, John Etheridge and Byron Wallen.

The board of Sheffield Theatres has a history of appointing actors to run the show. Michael Grandage had very little directing experience when he became artistic director of the city’s three theatres. Then came Samuel West. He was followed by Daniel Evans, who had directed no more than four plays.

For almost 20 years, Drive-By Truckers have been one of Americana's most consistent and enduring voices  – and, since 2001’s breakthrough double album Southern Rock Opera, probably the quintessential southern roots rockers too. Formed in Athens, Georgia in 1996 by Alabama natives Patterson Hood and Mike Cooley, the five piece specialises in catchy melodies with more than a hint of the southern gothic, vivid characters and wickedly witty lyrics.

When I last saw Vadim Repin in action, he was premiering a work of terrific energy and invention which is here to stay, James MacMillan's Violin Concerto. Tonight in Birmingham and on Monday at the Royal Festival Hall he is back on familiar territory with old friends – Vladimir Fedoseyev and the Tchaikovsky (formerly the Moscow Radio) Symphony Orchestra - in one of the pieces which brought him world recognition at 17 as among the handful of truly great violinists in the world today, the Tchaikovsky concerto.

Stranger by the Lake is something of a wonder, a superbly made amalgam of Hitchcockian psychological thriller and explicit homoerotica, whose very presence in commercial cinemas defies convention. Yet the sheer quality of Frenchman Alain Guiraudie’s film can’t be denied. Since proving one of the must-sees of Cannes in 2013, where Guiraudie won a directing prize and his film the Queer Palm, it built a word-of-mouth momentum that led to it featuring high on critics’ best-of-year film lists.

Kerri Chandler is quite simply one of the most revered figures in dance music, as much now as when he emerged from the New Jersey club scene onto the international stage nigh on a quarter of a century ago. True to the spirit of the disco, he has only ever released three albums in that time, but has made over 100 12” singles, and maybe twice that number of remixes of other people's work, as well as untold performances as one of the most consistently popular DJs in house music.

Two lanky, totemic marionettes with stern carved faces – one male, one female – coast haltingly around a rehearsal room in Bristol. They are being operated from inside metal framing by actors who coax tentative movement into arms and necks. “Use stillness as one of the things in your arsenal,” suggests a South African voice from the wings. “How are you doing for fatigue?” enquires a patrician English voice.

The tally of Charles Dickens’s biographers grows ever closer to 100. The English language’s most celebrated novelist repays repeated study, of course, because both his life and his work are so remarkably copious: the novels, the journals, the letters, the readings; the charitable works, the endless walks; the awful childhood, the army of children, the abruptly terminated marriage, the puzzling relationship with two sisters-in-law, the long and clandestine affair.

The news that Philip Seymour Hoffman has died at the age of only 46 robs cinema of - almost unarguably - the greatest screen actor of the age, and certainly its outstanding character actor. Where once there was Charles Laughton, or Ernest Borgnine, for the past two decades there has been Philip Seymour Hoffman. They are all great film actors whom fate has fashioned in doughy clumps of misshapen flesh. The matinee idols got the looks and the girls: the character actors got the meatiest roles and the longevity.