The slightly overwrought subtitle, "How Digital Language Created and Connects Our World and Shapes Our Future", gives a good indication how computer enthusiast Sam Arbesman treats his subject. Software, written in a variety of programming languages whose elements we refer to as code, is ubiquitous.

This is Tunng’s ninth album, their first in five years, and marks their 20^th anniversary by consciously going full circle to the gentle sound sculpture and folk melody of their earliest work. It is also thrown into fascinating relief by arriving just as the world is reeling from the loss of David Lynch.

“What happens if you’ve overstepped your mandate?” aristocrat-architect Cesar Catalin (Adam Driver) is asked. “I’ll apologise,” he smirks. Francis Ford Coppola’s forty years in the making, self-financed epic is studded with such self-implicating bravado, including a wish to “escape into the ranks of the insane” rather than accept conventional thinking, as if at 85 he is not only Cesar but Kurtz, plunging chaotically upriver again, inviting career termination.

Legions of Ghibli fanatics may love the heartwarming My Neighbour Totoro and the heartbreaking Grave of the Fireflies, but they revere Spirited Away, their, our, The Godfather and The Wizard of Oz rolled into one.

History is very present in Philippa Gregory’s new play about Richard III. Literally - History is a character, played by Tom Kanji. He strides around in a pale trenchcoat, at first rather too glib and pleased with himself, but quickly sucked into the action as Richard’s life plays out in front of him. If only Katie Posner’s production, which started at Shakespeare North Playhouse and is now at the Theatre Royal Bury St Edmund’s, could draw us in so powerfully.

Unbelievable is a strange title for a slightly strange show, the brainchild of Derren Brown, Andrew O’Connor and Andy Nyman, a trio with an impeccable pedigree in creating successful magic-based events. 

FOOD, The Studio ★★★

There’s no denying it: Los Angeles-born Geoff Sobelle is a theatrical magician (quite literally – it’s how he began his career). Through a string of visually spectacular shows on the Fringe and more recently at the International Festival, he’s unleashed wildlife into the streets of Edinburgh, drawn aeons of history from a cardboard box, and even constructed an entire house on stage.

“There is another world… a way of perceiving that is chaotic and awesome and terrifying,” announces Seraphina Madsen’s cigarillo-smoking, telepathic cat.

Lecturing a teenage coven on the art of sorcery and how to tap into the powers of the “Unseen world”, Tu Tu (also known as "The Master", in just one of Madsen’s many playful nods to Mikhail Bulgakov) swings from chandeliers, drinks champagne, plays the bongos and an electro-acoustic harp, and waltzes around a Gothic Revival mansion in a diamanté collar.

First came Yasmina Reza’s 1994 long-runner Art; now another French hit, The Art of Illusion, has arrived after eight years in Paris. The two pieces couldn’t be more different: the former is a chatty spat between three sophisticated male friends (would producers use gender-fluid casting these days?); the new arrival, a larky, boisterous ensemble piece that plays with the theme of illusion and how much it contributes to what we have come to call “magic”.

Hovering way, way above us, three aptly named high fairies, in voluminous chiffon, open a show that may not be airy in the metaphorical sense, but invites us to cast our eyes upwards continually – no bad thing to do in the bleak midwinter of 2022. But does the show, delayed after one Covid cancellation after another on its spluttering debut 12 months ago, soar as a new show should? Give or take the odd clunky landing, it does.