Hosted by Jazz FM presenter, Jez Nelson, an impressively varied mix of UK and international artists from the worlds of jazz, blues and soul were honoured at the fourth Jazz FM Awards on Tuesday night.

Decade Zero is a new commission from acclaimed contemporary classical composer Dave Maric, receiving its world premiere this weekend at the Cheltenham Jazz Festival. Maric has taken his inspiration from the work of stellar jazz trio Phronesis - bassist Jasper Høiby, drummer Anton Eger and pianist Ivo Neame - which he infuses throughout the new piece with both direct and indirect reference, so that Phronesis’ music is woven into an original score.

Much of the brilliance of Shakespeare lies in the openness, or ambiguity, of his texts. Whereas a novelist will often describe a character, an action or a scene in the most minute detail, Shakespeare knew that his scenarios would only be fully fleshed out when actors perform them. He was the first writer to create character out of language. Falstaff has an idiosyncratic way of speaking that is quite distinct from Juliet, as she does from Shylock, and he from Lady Macbeth. An actor receives subliminal clues about their character, merely by the way they express themselves.

It’s a close, steamy evening in Panama City. A short walk out of the Casco Viejo, or old quarter, leads to the coastal belt – a rush of highway with an accompanying, exhaust-flogged pedestrian walkway that hugs the Bay of Panama. It’s an inauspicious route, too close to traffic and the pungent smells of the city’s fish market, but I’m drawn towards the far-off sounds of an unlikely cinema congregation.

Michelangelo's Taddei tondo, which depicts the Madonna and Child with the Infant St John in a rocky landscape, is the only Michelangelo marble in Britain. Currently one of the stars of the National Gallery's Michelangelo & Sebastiano show, it is also one of the greatest treasures of the Royal Academy's permanent collection, and is the subject of my new book.

Having just celebrated a birthday the wrong side of 50 years of age I confess to regularly pinching myself when I dare to look back and see the higgledy-piggledy route my life has taken to bring me to the present day, as we celebrate 15 years of Tenebrae. Not just the odd lucky break here and there but seemingly a lifelong sequence of odd twists and turns, of chance meetings and associations, every one of which has resulted in me landing at the current co-ordinates of life.

If you’d asked me five years ago whether I might one day write a comedy about fracking, I’d have wondered whether you were entirely in possession of your faculties. Not because fracking sounds dull and boring (although let’s be honest, it does), but because the business of fracking had never really caught my attention.

It is the fate of a certain type of well-spoken classically trained actor to wear the livery of the English Establishment. Tim Pigott-Smith, double-barrelled and tall with a high forehead, was one such. But the full arc of his career encompassed vast breadth: he was a gifted tragedian, and a nifty comedian. 

Karen Blixen (1885-1962), the prolific Danish storyteller, is perhaps most immediately recognised for the portrayal of her and her works on the big screen, above all by Meryl Streep in Out of Africa. But her own story, and her place in the literary canon, can often be overlooked. Over the past three years I’ve been working closely with Riotous Company on Out of Blixen, a production exploring the many sides to Blixen and the rich layers of her tales.

They are hardly the ideal conditions in which to create. Danger is a constant and lurking menace, and it comes in multiple guises. Industrial injury is the main threat, as is the constant risk of arrest. Other hazards include deafness, breathing polluted air and public discontent. The tools and materials used in this form of installation - power drill, tarmac and steamroller - are expensive. And the work cannot be sold. But despite these powerful deterrents, a clandestine group of vagabond practitioners will stop at nothing to get their work into the public sphere.