I must have been one of the few in Saturday’s audience for Richard Ayres’s new opera who had never seen Barrie’s play or read the book, so I’m unable to judge how faithfully it renders the original – in case that matters. Somehow one knows the dramatis personae: Peter Pan himself, the Darling family, Nana the dog-nurse, Captain Hook, Tinkerbell, Tiger Lily and of course the ticking crocodile, who swallowed Hook’s watch along with his arm. They are all here, wittily, sometimes brilliantly, reimagined in Keith Warner’s panto-like staging.

The Royal Court has had a makeover. Recently, the walls have had a fresh coat of paint and huge messages have appeared on them: the front doors now say, “Come In”. (Oh, thanks for telling me...) Inside, there are so many arrows pointing you to the stalls, circle and bar that sometimes it seems like these places are harder than ever to find. In the foyer, you can read a wall message about the need for fundraising, facts about how big audiences were last year, and how many watched a show in school (a measly 2500).

Boyhood is an intimate film on an epic scale. Twelve years zoom past in 189 minutes, as we follow Mason Evans Jr.'s journey from primary school pupil to university student. That the film exists at all seems miraculous; you admire the producers’ nerve in funding such an open-ended project, and director Richard Linklater’s luck in securing a loyal cast willing to commit for 12 years.

Disillusioned with our modern world? Why not journey back into an idyllic past, when trains were benign, anthropomorphic creatures rather than sources of commuter angst, red petticoats held life-saving powers, and it was perfectly all right for children to accept sweets from a stranger.

English National Ballet and Birmingham Royal Ballet have staged programmes of war pieces already this year; now here's the Royal Ballet bringing up the rear in its own inimitable (and rather oblique) fashion with a triple bill that picks up on and subtly plays with the anxiety felt by those great British artists, Benjamin Britten and W.H. Auden, in the 1930s and 1940s. 

^{New Adventures, the name of Matthew Bourne's company, has a ruddy-cheeked, Boys’ Own ring to it that has – until now – been rather belied by his oeuvre, which includes a dance version of Edward Scissorhands, as well as dark retellings of all the traditional story ballets. But the New Adventure which rolled into Sadler’s Wells last night really is an adventure – an adaptation of William Golding’s Lord of the Flies, the desert island schoolboy story heavy with allegory about the propensity of human beings to descend into barbarism.}

Fantastic is the only word for The Changes. Fantastic as in fantasy, and fantastic because it's a television drama that's brilliantly conceived and impeccably executed – and also because it tackles issues of social cohesion and fragmentation head-on without using a sledgehammer. Broadcast by the BBC in 1975, The Changes was a ten-part series adapting Peter Dickinson's trilogy of novels The Weathermonger, Heartsease and The Devil's Children.

“We were making a film about the ideal summer holiday,” says actor Sophie Neville in one of the extras on this "40th Anniversary Special Edition" of the 1974 adaptation of Arthur Ransome's book Swallows & Amazons. As Titty Walker, she played a girl camping out with her three siblings on a Lake District island while engaging in wholesome outdoor fun and mounting a play war against the Blackett sisters, the Amazons of the title.

“What does opera have to say to the under-30s?” asked Alexandra Coghlan on theartsdesk yesterday. The question “what does opera have to say to the under-10s?” has had to wait until today. For although yesterday afternoon’s performance of Will Todd’s newish opera for children of all ages was the last in its second, sell-out run on the Yucca Lawn behind Holland Park House, it seemed essential to make my four-year-old goddaughter Mirabel available for comment, and that was the only date available in her diary. The answer?

In recent years the BBC Proms have woken up to the idea that an audience for classical music can be captured young. The Doctor Who Prom was the first to harness a BBC brand and turn it into a stealthy orchestral primer. The Horrible Histories has served its turn too. This season the Proms aimed at smaller listeners are multiplying. Last weekend there was the Sports Prom, with a programme of popular theme tunes bulked out by music on the theme of outdoor pursuits. This weekend there brought the CBeebies Prom with the BBC Philharmonic.