"Get into the scene late and get out early." So wrote David Mamet in his 1992 book On Directing Film, and Southwark Playhouse, among London's most charmingly eclectic theatres, has delved very early into Mamet's canon, reviving his 1977 play The Woods – a two-hander not seen in London since 1996.

The Korean-American writer Young Jean Lee’s Straight White Men, currently enjoying its UK debut at Southwark Playhouse, is presented within a frame that cleverly and radically alters what’s inside it.

Much has happened in the five years since your reviewer braved the steep rake at The Other Palace and saw The Last Five Years (not least my now getting its “Nobody needs to know” nod in Hamilton – worth a fistful of Tonys in prestige, I guess) so it’s timely to revisit Jason Robert Brown’s musical.

To accept or not accept a donation: that’s certainly the burning political question of the moment.

I think I can safely say that polymath playwright Philip Ridley has had a good lockdown.

Film is the new theatre – this we know, but does the distance imposed by the change of medium increase or decrease the impact of the story? The latest example of this problematic switch from stage to screen is the strongly acted Shook, Samuel Bailey’s debut play, which won the 2019 Papatango New Writing Prize and had a run at the Southwark Playhouse in November of that year.

She’s an ordinary young woman, and she really doesn’t know what to think. After all, things are way out of control. She knows that the natural world is pretty fucked, and that nothing grows in the earth any more — well, at least not on her patch. She knows that the gators, the semi-aquatic reptiles that used to live in swamps, have now taken to strolling through cities. And that they fall in love with humans, and serenade them, and feel bad when they are rejected.

There’s concept on top of concept in this revival of Jason Robert Brown’s beloved 2001 musical, which charts the ebb and flow of a relationship by juggling timelines: aspiring actress Cathy’s story is told in reverse chronological order, while aspiring writer Jamie’s moves forward. It’s an apt framing for a couple who are never on the same page, their dual ambitions and relative success wrenching them apart.

Where does music come from? That’s the vital question posed to Sergei Rachmaninoff in Dave Malloy’s extraordinary 2015 chamber work, as the great late-Romantic Russian composer – stuck in his third year of harrowing writer’s block – tries to relocate his gift. It comes from others and from himself; from past and present; from everything and nothing. It is ephemeral, and yet it is at the core of his very being.

As British summer really kicks in (umbrellas at the ready), our thoughts might turn fondly to the sunny Caribbean. Good timing, then, for the return of Lynn Ahrens and Stephen Flaherty’s 1990 musical set in the French Antilles.