Change of Heart as stage with daughter
relocated. Two years later, the family returned to Hertfordshire and she began taking piano lessons at the age of seven, encouraged by her mother, who was a classical violinist. After leaving school, she attended art college, while performing with various bands in London pubs and writing songs. Her favourite artists at the time were Elton John, Judi Tzuke, Stevie Wonder and Kate Bush, all of whom influenced her music.
Beverley has three daughters – Mollie, 22, who has just left Nottingham University, where she was studying French; Brenna, 18, who is at Bournemouth University studying event management; and Connie, 17, who is at music college.
My next question for Beverley was where she gets the inspiration for her songs.
“Most of it comes from real life,” she says. “I keep my iPhone by my bed at night and if
think of some lyrics or tunes, I sing into the phone and record them. I do the same if I’m taking my dog, Buddy, for a walk.”
Would she like to be in the music charts again?
“I would love to. However, I know it will never happen,” she says, modestly. “The music scene has changed so much from when I won the Brits and
am light years away from achieving chart success as much as I would like to.”
With a sell-out tour and rave reviews for her new album, this could change.
Beverley performs at the Old Town Hall, High Wycombe, on Saturday, October 18 at 8pm – doors open 7.15pm.
For tickets – at £20 – call 01494 512 000 or book online via wycombeswan.co.uk.
For more about the Change of Heart album and tour, go to beverleycraven. com. The album is also available on Amazon.
IIAll extra activities are included in the usual ticket price.
Visits must be booked in advance. Tickets cost £31 (adult), £23.50 (ages five to 15) and free for under-fours (but a ticket is still needed). Family and group tickets also available.
18 Ben Affleck, Rosamund Pike, Carrie Coon, Neil Patrick Harris, Kim Dickens, Patrick Fugit, Tyler Perry, Missi Pyle, Sela Ward, David Clennon, Lisa Beth, Emily Ratajkowski, Scoot McNairy
SOMETIMES ignorance is bliss. If, like me, you haven’t read Gillian Flynn’s 2012 psychological thriller and you know nothing of the serpentine twists that propelled the novel to the top of the best-sellers’ list, then jealously guard your cluelessness.
There’s an undeniable delight watching Flynn wrong-foot us with this spiky satire on media manipulation and the glossy façade of celebrity marriages.
When the central characters promise to love, honour and obey, ‘till death do us part’, one of them takes that vow very seriously.
Admittedly, you have to dig deep beneath the surface of David Fincher’s polished film to find the jet black humour but it’s there, walking hand-in-hand with sadism and torture, which propel the narrative towards its unconventional dénouement.
This film adaptation is distinguished by a career-best performance from Rosamund Pike as the pretty wife, who vanishes without trace on her fifth wedding anniversary and is presumed dead at the hands of her handsome husband (Ben Affleck).
Pike has to plumb the depths of human emotion in a demanding and complex role, by turns brittle and steely, terrified and driven. She’s almost certain to earn her first Oscar nomination.
In stark contrast, Affleck is solid but little more as the spouse who pleads his ignorance but hides secrets from the people he adores.
As battles of the sexes go, it’s a resolutely one-sided skirmish.
On the morning of his anniversary, Nick Dunne (Affleck) calls detectives Rhonda Boney (Kim Dickens) and Jim Gilpin (Patrick Fugit) to his home. There are signs of a struggle and his wife Amy (Pike) is missing.
Nick’s sister Margo (Carrie Coon), who has never liked Amy, assures her sibling that everything will be fine.
“Whoever took her’s bound to bring her back,” she quips cattily.
Nick and Amy’s distraught parents (David Clennon, Lisa Beth) front a high-profile media campaign to secure the safe return of ‘amazing Amy’.
In the glare of the spotlight, fractures appear in the Dunnes’ marriage, and police and public question Nick’s innocence.
Gone Girl holds our attention for the majority of the bloated running time (149 minutes), with a couple of lulls and a disjointed final act.
Pike’s mesmerising theatrics light up the screen and there is strong support from Neil Patrick Harris as Amy’s creepy old flame.
Fincher’s direction is lean, complemented by snappy editing and a discordant score by Trent Reznor and Atticus Ross, who won an Oscar for their music for The Social Network.
Once you regain your balance from Flynn pulling the rug from under your feet, this is a slick yet slightly underwhelming whodunit that doesn’t quite scale the dizzy heights of shock and suspense previously achieved by Jagged Edge, The Usual Suspects or indeed, Fincher’s 2005 film, Se7en.
Several of Beverley Craven’s tour dates have sold out
The displays in the new section devoted to the Dark Arts include some artefacts not seen before by the public