Change of Heart as stage with daugh­ter

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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

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.

Visit www.wb­stu­dio­

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

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