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.

Deft and funny and nicely cast, what's not to like about Other People's Money, the era-defining Jerry Sterner play in revival at Southwark Playhouse? The play's 1989 premiere Off Broadway allowed for a contemporary skewering of the roaring, rapacious, uncaring 1980s.

The joint is jumpin’ at Southwark Playhouse, now hosting an irresistible Fats Waller-inspired, Manhattan-set musical revue (a co-production with Colchester’s Mercury Theatre, where it opened last month).

It's an ideal time to revive James Phillips's debut The Rubenstein Kiss. Since it won the John Whiting Award for new writing in 2005 its story, of ideological differences tearing a family apart, has only become more relevant. Joe Harmston directs a slick production at the Southwark Playhouse, which never quite manages to coalesce into something great.

Bodies is the latest in Two's Company's series of what they deem "forgotten masterworks", this one making a less-than-triumphant return to the London stage after almost 40 years away. Written by James Saunders in 1977, it opened at the Orange Tree in Richmond before transferring to the Hampstead Theatre and then on to the West End.

Time once again to roll out that line about the road to hell being paved with good intentions.

“Love Changes Everything”, as immortalised by Michael Ball, is the most enduring feature of Andrew Lloyd Webber, Don Black and Charles Hart’s 1989 musical – a moderate West End success, and a Broadway flop.

There are not that many plays about sport, but, whether you gamble on results or not, you can bet that most of them are about boxing. And often set in the past.