Evening with Lee

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per­for­mance,” Lee said. “I‘ m thrilled that can make some time in my cur­rent act­ing sched­ule to re­con­nect with the­atre au­di­ences. The band is su­perb and it will be great to be singing once again.”

IIn Con­cert with Lee Mead started in May and con­sists of a run of 12 shows, end­ing in De­cem­ber at the Gar­rick The­atre in London.

Be­cause of his film­ing sched­ule for Ca­su­alty, Lee has been do­ing about one show per month.

“It’s been great,” he ex­plained. “Ev­ery gig is dif­fer­ent and I’m play­ing in venues and towns haven’t played in be­fore, which love to do. Ev­ery­one seems to be hav­ing fun and that’s the most im­por­tant thing for me, that the au­di­ence goes away hav­ing had a great evening and re­ally en­joyed them­selves.”

Lee will also be singing hits such as Prince’s Kiss, Queen’s Crazy Lit­tle Thing Called Love and Jeff Buckley’s Hal­lelu­jah.

How­ever, Lee’s favourites in the show are Some En­chanted Evening from South Pa­cific and Cold­play’s Fix You.

“Those two are my favourite. They’re the songs I love to sing, which is handy.

“There’s about 20 odd songs in the show, it’s quite a big show with a real mix of mu­sic. It’s a great show.”

Lee spends his week­days in Cardiff film­ing for Ca­su­alty.

He said: “I re­ally en­joyed be­ing in Ca­su­alty this year, it’s gone so quickly. My con­tract fin­ishes this month but it looks like I’ll be stay­ing on for a sec­ond year, which is re­ally ex­cit­ing.

“I play nurse Lofty, who is quite funny and is like a mini Sher­lock – he sees things from a dif­fer­ent per­spec­tive. He’s quite a car­ing character but he’s also quite clumsy. He’s a lot of fun to play.”

Lee is urg­ing peo­ple to go to the show at Wy­combe Swan.

He added: “It’s a fun night out. If you like mu­sic in gen­eral and songs from the West End then you’ll have a great evening. It’s a nice chance to sit back and lis­ten to some great mu­sic.” Tick­ets cost £24.50. To book, call 01494 512 000 or visit www.wycombeswan.co.uk.

II12A Matthew McConaughey, Anne Hath­away, Wes Bent­ley, David Gyasi, Michael Caine, Casey Af­fleck, Jessica Chas­tain, Ti­mothee Cha­la­met, Macken­zie Foy, John Lith­gow, Ellen Burstyn and voice of Bill Ir­win RITER-DI­REC­TOR Christo­pher Nolan shoots for the stars with a fu­tur­is­tic thriller, co-writ­ten with his brother Jonathan, about the search for a new home to re­place a dy­ing planet Earth.

Epic in scope and wildly am­bi­tious, In­ter­stel­lar doesn’t quite achieve its bold vi­sion of a story about a fa­ther and daugh­ter set against the vast back­drop of mankind’s fi­nal roll of the dice to avoid ex­tinc­tion.

How­ever, even when this grand fu­tur­is­tic ad­ven­ture mal­func­tions, it’s a deeply en­gross­ing med­i­ta­tion on the ties that bind and the en­durance of emo­tional bonds across space and time.

Nolan and cin­e­matog­ra­pher Hoyte van Hoytema have cap­tured some of the most breathtaking vis­tas, in­clud­ing our first glimpses of a black hole or worm­hole on large-for­mat IMAX film.

Th­ese se­quences pack a mighty visual punch and pow­er­fully con­vey how tiny and seem­ingly in­signif­i­cant we are on our third rock from the Sun. Com­poser Hans Zim­mer, who col­lab­o­rated with the London-born di­rec­tor on The Dark Knight tril­ogy, pro­vides another bom­bas­tic or­ches­tral score to com­ple­ment the ma­jes­tic im­agery.

Our planet is dy­ing: great dust

Wclouds sweep across agri­cul­tural plains, ru­in­ing crops and mak­ing it im­pos­si­ble to breathe com­fort­ably with­out a face mask.

“We used to look up and won­der about our place in the stars. Now we just look down and worry about our place in the dirt,” laments Cooper (Matthew McConaughey), a for­mer test pi­lot, who toils the parched soil with his 15-year-old son Tom (Ti­mothee Cha­la­met) and 10-year-old daugh­ter Murph (Macken­zie Foy).

Cooper an­swers a call from Pro­fes­sor Brand (Michael Caine) to lead a mis­sion to lo­cate a new planet ca­pa­ble of sus­tain­ing hu­man life.

“We’re not meant to save the world. We’re meant to leave it,” ex­plains Brand, whose daugh­ter Amelia (Anne Hath­away), a sci­en­tist, will be part of the crew, with as­tro­physi­cist Romilly ( David Gyasi) and pi­lot Doyle (Wes Bent­ley).

Leav­ing his brood in the care of his fa­ther-in-law (John Lith­gow), Cooper un­der­takes the most im­por­tant mis­sion in hu­man his­tory, know­ing that fail­ure will mean cer­tain death for the peo­ple he loves.

In­ter­stel­lar re­tains a tight fo­cus on the char­ac­ters with­out sac­ri­fic­ing the adren­a­line-pump­ing thrills that fans ex­pect from di­rec­tor Nolan.

Two talk­ing mil­i­tary ma­chines – TARS (voiced by Bill Ir­win) and CASE – are a mar­vel of me­chan­i­cal pup­peteer­ing and in­ject some much-needed hu­mour.

“I have a dis­cre­tion set­ting,” dead-pans TARS in re­sponse to a re­quest from Cooper to dis­close sen­si­tive in­for­ma­tion.

McConaughey and Hath­away add emo­tional heft to their em­bat­tled as­tro­nauts, wring­ing out tears after Amelia sternly warns Cooper: “You might have to choose be­tween see­ing your chil­dren again and sav­ing the hu­man race.”

A cou­ple of dense philo­soph­i­cal dis­cus­sions about grav­ity and love or­bit the moon of un­in­ten­tional hi­lar­ity but, thank­fully, Nolan avoids the full crash and burn.

Anne Hath­away (Amelia) takes a plunge

Anne Hath­away (Amelia) and Matthew McConaughey (Cooper) keep the emo­tional flow at a tol­er­a­ble level as they strive to save hu­man­ity

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