Farinelli and The King is pretty much a perfect piece of theatre. More importantly, though, it’s perfectly timed. In a month when English National Opera’s troubles have made the front page, when op-eds are all about why Simon Rattle’s dreams of a new concert hall for London are fruitless, this paean to music – to its serious, healing, transformative power – is not only resonant, but necessary.

Ever been stuck in a claustrophobic space with a group of really unpleasant people? Add mayhem, murder and the kind of razor-sharp wit to be found in only a very few of the nastiest individuals, and you have Dominic Dromgoole’s candlelit production of Middleton and Rowley’s satirical Jacobean nightmare, The Changeling.

So TFL have banned the Globe’s posters for ‘Tis Pity She’s a Whore for being too racy. What a gift. They couldn’t have given the production a better advertising boost if they’d covered every single one of their thousands of billboards with the barely-naked bodies of the show’s two attractive young leads. John Ford – still shocking audiences and sticking two bloody fingers up at the censors 400 years later. Well played.

On Saturday at Shakespeare’s Globe, the Alternative Miss World was staged for the 13th time. Having launched this gloriously tacky event in his Hackney studio in 1972, artist Andrew Logan promises to carry on the tradition until the day he dies; but it’s last showing – at the Roundhouse five years ago – nearly bankrupted him. This time round, crowd funding has helped solve the problem.

It begins sombrely, with the grave recounting of a shipwreck, but such emotive moments are fleeting: as the drama ratchets up, it only serves to fuel the splendid zaniness of Shakespeare's 1594 farce. Granted, it's not his most nuanced comedy – the wordplay is relatively unsophisticated, and there’s a greater reliance on confusion, pratfalls and repetition – yet in Blanche McIntyre’s spirited production, it is, indisputably, an awful lot of fun.

While it is something of a cliché to be reminded that forgetting the past is a sure way of repeating it, the problems of the Middle East are so acute that this thought might be worth taking seriously. In Holy Warriors, playwright David Eldridge’s new look at the struggle for Jerusalem and the Holy Land from the Middle Ages to the present day, the scope is ambitious and the subject matter as timely as can be. But is the play any good?

The latest in a series of "Pinnock’s Passions" concerts at the Sam Wanamaker Playhouse saw the doyen of period instrument performance lead a delightful exploration of Handel the musical borrower, entitled "Handel’s Garden". As Trevor Pinnock writes in the programme notes, "throughout his life as a composer he had the habit of taking cuttings, transplanting and grafting from works old and new".

For those who believe spin is if not a modern invention, then at least a modern fascination, Shakespeare’s Julius Caesar offers a sharp rejoinder. Interpretation, manipulation and persuasion pervade this incisive drama about the assassination of the Roman ruler, with the company donning layers of pretence as actors playing politicians whose lives unspool upon a stage; those who do not choose their lines with care are doomed to failure.

Jordi Savall has spent half a century combining instrumental performance on the viola da gamba with being the leader of ensembles of pioneering scholarship. Now in his early 70s, he has certainly had the recognition he deserves: a Grammy (he has made over a hundred albums), an honorary professorship (he has taught since 1974), and the Légion d'Honneur. These days he is also a prominent public figure supporting the “Catalunya should have the right to vote” campaign. His solo recital at the Sam Wanamaker Playhouse last night showed what a lifetime of patient endeavour can achieve.

Lucy Bailey’s Titus Andronicus doesn’t pull any punches (or stabbings, smotherings and throat-slittings, for that matter). Bursting into a Globe smoky with incense, with shouts and drums, forcing itself at us and on us, this is a production whose physicality is its true language. But while anyone going for the gore will get their money’s worth – the opening night added a few more to the tally of fainting audience members – they’ll also get something better: a show that’s shocking, certainly, but whose provocations are never empty.