Derived from the similarly-titled novel by Thomas Mallon and directed by Ron Nyswaner, Fellow Travellers tracks the course of its protagonists through several decades of 20th Century American history. It’s also an account of changing attitudes to homosexuality, and how gay culture emerged from the shadows and went mainstream.

It’s not hard to miss the fact that Bloomsbury is back in fashion at the moment. This summer, it felt like everyone’s Instagram story showed a trip to Charleston (the home of Vanessa Bell and Duncan Grant). In the last month alone, the Charleston Trust has opened a new exhibition site, and Charlie Porter’s Bring No Clothes: Bloomsbury and the Philosophy of Fashion has been published.

A flea bites a rat which spooks a horse which kicks a man and… an empire falls?

I know, I was there. Well, not in Edinburgh in 1985, but in Liverpool in 1981, and the pull of London and the push from home, was just as strong for me back then as it is for Eck in John McKay’s comedy Dead Dad Dog.

The starting point of this musical comedy – using a panto format to take a deep dive into the UK's immigration law – comes from such a good place that one feels a real heel for criticising it. But however much I wanted to like Shani Erez's ambitious work for BOLD Theatre, I really couldn't.

The story within a story follows a group of immigrants to “Britaim” as they stage a panto – what could be more British? – to show their love and knowledge of UK culture.

The title of Peter Arnott’s new play – a co-production with the Pitlochry Festival Theatre, and now partway into a ten-day run at Edinburgh’s Lyceum Theatre – might conjure a painterly image of contented friends and family in an idyllic rural setting.

The Royal Court’s collaboration with Access All Areas (AAA) may not be theatre’s first explicit embrace of the neurodiverse community on stage: Chickenshed has five decades of extraordinary inclusive work behind them and Jellyfish, starring Sarah Gordy at the National Theatre, was one of my highlights of 2019.

Seldom can a title have given so much away about the play to follow, not just in terms of the subject matter but also in terms of the sledgehammer approach to driving home its points. Kimber Lee, who won the inaugural Bruntwood Prize for Playwriting 2019, International Award, certainly does not say anything once if she can say it twice or thrice nor leaves any ambiguity about every element of her stance regarding Orientalism.

Towards the end of the 18th century, Lady Emma Hamilton (like so much in this woman's life, hers was a title achieved as much as bestowed) was the “It Girl” of European society.

The Insider, ZOO Southside ★★★★