The career of Raf Rundell has had one of the most satisfying trajectories of any in UK music – a steady process of self-realisation, from record label staff via DJing and artist management, through being a serial studio collaborator, to becoming a fully fledged artist in his own right. For a musician to only now, in his late 40s, be releasing his second full album might seem odd, but there’s something very natural about the way it’s all happened, which is expressed in the confidence of his sound which only continues to mature like fine wine.

As with so much in these unprecedented times, online performance is evolving, and fast: different approaches are becoming established formats. Some go ultra intimate – raw acoustic performances, live chats with fans – as if trying to strip away the digital divide. Big, serious rock bands with like Metallica and Radiohead try to keep their established fanbases sated with sheer volume of professionally recorded archive performance.

RKO’s Dance, Girl, Dance was remarkable as a vehicle for two emerging stars, Maureen O’Hara and Lucille Ball, that stealthily radicalised its backstage setting and tried to slap moviegoers out of their comfort zone – probably the reason it failed commercially on release in August 1940.

Cats is, declares composer Andrew Lloyd Webber, a show that doesn’t really have a story, but was beloved on stage because it’s “the ultimate theatrical experience”.

The latest in Sadler’s Wells’ Digital Stage programme – an impressively assembled online offering to keep audiences entertained during the shutdown – is balletLORENT’s family-friendly dance-theatre production Rumpelstiltskin. It was streamed as a "matinee" on Friday afternoon, and is available to watch for free on 

The Dingle Peninsula is a thumb of land that protrudes into the Atlantic as if trying to hitch a ride from Ireland to America. The choreographer Michael Keegan-Dolan recently moved there, and its crags and vales and unspoilt coast have sucked him into an older, slower way of life that – paradoxically, because his work was and remains radical – has given him a shot in the arm.

Physical theatre company Theatre Re are virtually Fringe royalty these days, with a several-year history of fine shows under their belts, plus success internationally and at the London Mime Festival.

The publicity said it would be dark. But who would have guessed The Mother would be this dark?

It’s hard, and finally fruitless to attempt to describe Okwui Okpokwasili’s Bronx Gothic in conventional terms of genre: combining elements of dance and theatre, this visceral solo performance transcends both.

"What could possibly go wrong?" The question ends the first act of Wise Children, the debut venture from the new company birthed by a director, Emma Rice, who must have asked herself precisely that query at many points in recent years.