Fifteen years ago, when I was The Spectator’s drama critic, Caroline used to complain that she had become a ‘theatre widow’. I was spending at least three nights a week in the West End while she was cooped up at home. Occasionally, I was able to persuade her to come with me, but most of the time she just made a face: ‘I’d love to accompany you to the musical version of Salman Rushdie’s Midnight’s Children, but unfortunately I have an unbreakable appointment with the sofa and the TV set.