My acid test for whether a show’s worth going to is, specifically, whether it was worth driving 27 miles into town and 27 miles back, spending, say, three or sometimes four hours travelling to see something 80 minutes long. Not often is it worth that. But if it was on in a theatre near you, it would be worth picking up. And so I say for Arthur Pita’s The Metamorphosis.

It all started back on Thursday, 6 April, 1972. In the dining room of the less than salubrious Bush Hotel on the corner of Shepherds Bush Green, in a room that had once been Lionel Blair’s studio, the Bush Theatre was born. Over the course of the next 39 years, the Bush became a byword for small theatrical miracles.

On its stamp-sized stage Victoria Wood met the comparatively unknown young Julie Walters. Stephen Poliakoff, Sharman Macdonald, Jonathan Harvey amongst many others made their stage-writing entrance within its modest portals.

They say that moving home is always traumatic. So the Bush Theatre in west London must be feeling a wee bit fragile because it has recently upped sticks and taken up residence in the Old Shepherds Bush Library building just around the corner from its historic but rather leaky former home. Yet it’s typical of this spunky venue that it celebrates the first stages of the move with not only a trilogy of short plays, but also with an invitation to the audience to comment on its new space.

At the moment, most of the energy in British new writing seems to be coming from American and Irish playwrights. This is such a regular phenomenon, one that comes around every few years, that it seems idle to speculate on the reasons for it; surely, it’s enough to welcome another new talent from Ireland? As well as being the artistic director of Tall Tales theatre company, Deirdre Kinahan is a prolific playwright. Her UK debut, Moment, opened last night at the Bush Theatre in west London, and is an engrossing study of a dysfunctional family.

The second play in this venue’s ambitious Schools mini-season is the first drama to tackle the currently contentious subject of Free Schools. While the earlier play, John Donnelly’s The Knowledge, was a powerful account of how a young teacher is blooded in her encounters with a group of unruly kids, the second, by Steve Waters, focuses more on parents, and shows how a fortysomething teacher, Rachel, joins a group of middle-class west Londoners in order to set up a Free School.

As the debate about educational standards and Free Schools rumbles on, the Bush Theatre in west London has had the good idea (gold star guys) of beginning the year with a mini-season of two plays on the subject of education. The first play, by John Donnelly, opened tonight and looks at what happens when a young teacher, Zoe, bites off more than she can chew. It's a thrilling start to the playwriting new year.

London’s world-famous experimental pub-theatre has secured its future with a move into Shepherd’s Bush old library. Church and council permission were given yesterday for conversion of the library (owned by the Church of England) to be ready for curtain-up in 2011 when the lease on the Bush’s space in O’Neill’s pub, Shepherd’s Bush Green, expires.

Let's face it, the rom-com has an image problem. Too often, this genre is tainted by either sugar-sweet sentimentality or crashing cliché, or both. Often, there’s something more than a little oppressive about the whole idea of romance, as if love’s natural idealism is too weak to withstand a cold dose of reality. But there are exceptions. And this show is one of them. It’s great to be able to welcome D C Jackson’s new play, which he calls a “non-rom-com”, and which arrives in London having first enjoyed a successful outing at the Edinburgh Festival in August.