Stranger Things has shown us over four seasons that the alternate dimension known as the Upside Down can be the seat of many things: terror, mystery, camaraderie, compassion. As it turns out, it can spawn great theatre, too, for Stephen Daldry’s much-anticipated stage production of the prequel to the Netflix mega-hit has finally summoned its demonic energy to take the West End by storm.

In Annus Mirabilis, Philip Larkin wrote,

"So life was never better than 

In nineteen sixty-three 

(Though just too late for me) – 

Between the end of the "Chatterley" ban 

And the Beatles' first LP."

You really don’t want to pick up The Time Traveller’s Wife in a game of charades. Half the clock would be run down just showing that it’s a novel, a film, a TV series and a musical.

A dystopian present. Sirens ring out across the city. Firefighters rush to the wrong locations. A man insists on entry to a big house.

He’s not selling anything, so he can’t be an arsonist can he? His friend turns up and she’s pretty upfront about her intentions – and the barrels of petrol in the attic rather give the game away. But the wealthy homeowner, so ruthless at work, is so polite at home, the coming conflagration all but accepted as a matter of… manners, social convention, apathy?

For the most adventurous programme in its autumn Saturday series at the Bridgewater Hall, the BBC Philharmonic’s John Storgårds brought two works from his native Finland’s repertoire, and a concerto some distance from the beaten track.Like the Hallé’s concert of mainly new music with Thomas Adès two days before, it did not pull the crowds in, despite a sweetener in the mix, but those who were there were enthusiastic.

Thomas Adès had a job to do in his first concert with the Hallé since being appointed Artist-in-Residence for the next two years: to win over the audience that came to witness it.

It wasn’t a sell-out (anything that smacks of new music is unlikely to draw a huge number to the Bridgewater Hall, no matter what sweeteners are provided), but for those who were there he definitely succeeded, and by the end they were shouting their approval.

It’s not hard to miss the fact that Bloomsbury is back in fashion at the moment. This summer, it felt like everyone’s Instagram story showed a trip to Charleston (the home of Vanessa Bell and Duncan Grant). In the last month alone, the Charleston Trust has opened a new exhibition site, and Charlie Porter’s Bring No Clothes: Bloomsbury and the Philosophy of Fashion has been published.

I know, I was there. Well, not in Edinburgh in 1985, but in Liverpool in 1981, and the pull of London and the push from home, was just as strong for me back then as it is for Eck in John McKay’s comedy Dead Dad Dog.

Ben Gernon’s relationship with the BBC Philharmonic has been a richly rewarding one over the close-on seven years since his appointment as their principal guest conductor began, and indeed subsequently. 

The impression gained on his first Bridgewater Hall concert with them back in 2017 – that one of his instincts is to give an orchestra what it needs and then let the players do what they do best – was again clear in this programme of popular repertoire works which he took over from an indisposed Mark Wigglesworth.

Like theatre itself, the law finds its voice in stories, performance and spectacle. Any law student will, from that very first induction lecture, become suffused in a culture that is informed by and in turn informs theatre, some classes more like an evening at the Old Vic than an afternoon at the Old Bailey.