There may never have been a time when Shakespeare’s Richard III did not have contemporary relevance, but surely never more than it does right now. And it’s to the credit of director Mehmet Ergen that this production doesn’t go to town on it, but instead leaves the audience to make its own connections.

On 10 October 2016, World Mental Health Day, the team of Belarus Free Theatre came back together to start the final stages of production for Tomorrow I Was Always a Lion, a new theatre show based on Arnhild Lauveng’s autobiographical book. Arnhild Lauveng is a Norwegian writer and practicing psychologist. In the book she tells the story of her own recovery from the incurable condition of schizophrenia.

The playwright Anders Lustgarten has spent a considerable chunk of his life reading and writing and thinking about China, and clearly wants to set a few points straight. Tired of the persistent Western view of that country and its people as inscrutable and mysterious, and exasperated by what he sees as the clumsy anti-Maoist propaganda of popular works such Jung Chan’s Wild Swans, he has written a play that looks at the effects of the Mao years on a gaggle of ordinary people in one ordinary village – the fictional rural backwater Rotten Peach.

It's been a quite while since 2012's critically acclaimed album The Echo Show. In that time, Parisian psych duo Yeti Lane have been backing band for Can legend Damo Suzuki, played with the fractured genius behind Brian Jonestown Massacre, Anton Newcombe, and managed to forge a new sound for themselves. It's a sound that is darker, stronger, weirder and much, much larger.

Say what you will about London theatre during 2015, and by my reckoning it was a pretty fine year, there certainly was a lot of it. I can't recall a year that brought with it a comparable volume of openings, not least during September and December, this year's pre-Christmas slate of major press nights roughly double the same time period in 2014. And as proof that people were actually attending the stuff on offer, empirical evidence as ever was the best guide.

Two plays for the price of one. What’s not to like? Particularly when they resonate so strongly with each other on a hard, uncompromising theme. Broadly, that theme is love and war, sex and death, but more specifically, both plays home in on the truth games played by a man and a woman at critical moments of intimacy.

RD (“Ronnie”) Laing was a typically eccentric 1960s guru. A Scottish psychiatrist who was one of the leading lights of the anti-psychiatry movement, his 1960 classic The Divided Self helped a whole generation to a deeper understanding of mental illness and especially the experience of psychosis.

His style is probably too subtle to be described as causing anything as noisily obtrusive as a splash, but Barney Norris’s debut play Visitors certainly created significant ripples last year. This follow-up drama is also, on the surface at least, low-key: a gentle, melancholy rumination on love and loss, in which the more drastic events happen offstage and time ticks by, ungraspable, inexorable.

Few contemporary playwrights have enjoyed as many revivals as polymath Philip Ridley. The first two of his 1990s gothic East End trilogy — The Pitchfork Disney and The Fastest Clock in the Universe — have recently been staged again to great effect and now it’s the turn of the final play in the trilogy, Ghost from a Perfect Place. When it was originally put on at the Hampstead Theatre in 1994 it shocked audiences with its full-on violence. But what is its impact today?

Critics can also be historians. In my opinion, the great new wave of 1990s British theatre starts not with Sarah Kane’s Blasted in 1995, nor with Mark Ravenhill’s Shopping and Fucking a year later, but with polymath Philip Ridley’s amazing debut, The Pitchfork Disney, in 1991. Now, with this long overdue revival which opened last night, we get another chance to sample a powerful and imaginative drama in all its glittering and eerie strangeness.