Lizz Wright’s exquisite singing breaks all boundaries between soul, gospel and jazz. In so doing she channels many interwoven strands of the African-American experience. Wright thrives on singing to an audience: her recorded output is wonderful enough, but, a child of the church, the sacred ceremony of raising the spirit in myriad ways is undeniably her home ground.

Michael Fassbender recently starred in Paramount+’s rather laborious spy drama The Agency, but here he finds himself at the centre of a much more sly and streamlined operation.

“The exercise of fantasy is to imagine other ways of life,” says one of the role-players during a Dungeons & Dragons marathon, because “without understanding how others might live, I ask you, how will we ever understand ourselves?” It’s a good question, and writer and director Jack Bradfield, in his enchanting new play The Habits, has a good stab at answering it.

When Twiggy burst on to the scene in 1966, she was a beacon of hope for all flat-chested, short-haired, skinny girls. Of course we couldn’t look as fabulous as she did, with her enormous eyes and high forehead and long legs, but we could try.

Plays about the Windrush Generation are no longer a rarity, but it’s still unusual for revivals of black British classics to get the full resources of the National Theatre. Guyana-born playwright Michael Abbensetts, who died in 2016, is often mentioned in books about black British drama, but his plays are infrequently revived.

Myra Hess was one of the most important figures in British cultural life in the mid-20th century: the pre-eminent pianist of her generation and accorded “national treasure” status as a result of the wartime lunchtime concert series at London’s National Gallery, which she singlehandedly masterminded through 1,698 concerts between 1939 and 1946.

Donald Rodney’s most moving work is a photograph titled In the House of My Father, 1997 (main picture). Nestling in the palm of his hand is a fragile dwelling whose flimsy walls are held together by pins. This tiny model is made from pieces of the artist’s skin removed during one of the many operations he underwent during his short life; sadly he died the following year, aged only 37.

Since when has new writing become so passionless? Mike Bartlett is one of the country’s premiere playwrights and his new play, Unicorn, is about radical sexuality and desire. It’s already made a big splash by being put straight on in the West End, yet the experience of watching it feels like a real turn off. It’s a masterclass of bad writing and unemotional acting.

Russia.

Bridget Jones has grown up: v.v.g. Our heroine is still prone to daft pratfalls and gaffes and bursts of sensational idiot dancing. But passing time has lent her an enhanced self-awareness that has nothing to do with calories consumed. This Bridget can bring the pinprick of tears to the eyes as well as make you laugh.