Jenna Coleman seems to pick her roles with care, whether it’s Queen Victoria, the girlfriend of mass murderer Charles Sobhraj in The Serpent, or “occult detective” Johanna Constantine in The Sandman, but her antennae may have been a bit awry when she climbed aboard this one.

The Jetty is long on atmosphere and scenery but short on plausibility, and hammers away at its themes of abused women and abusive men so relentlessly that there’s not much room for anything else.

Times change, people don't. Does a knighthood sit well on a man who shags anonymous strangers in the Blue Lion out of hours? Emlyn Williams played his own fruity lead when his play Accolade premiered in 1950 - Bill Trenting, a hugely successful writer of seamy bestsellers who (improbably) is about to be knighted and (still more improbably) won the Nobel Prize for Literature, but who will be publicly exposed for his double life enjoying promiscuous stranger-sex in Rotherhithe bars, if he doesn't pay his blackmailer. 

Isabelle (Eva Green) leans over, her long hair catches fire from a candle, and Matthew (Michael Pitt) devotedly snuffs it out. She doesn’t miss a beat at this real-life accident, consumed already by The Dreamers’ closed world of a Left Bank apartment in May ’68, where sexual transgression stands for the barricades and baton charges outside.

What would happen if a notorious misogynist actually fell in love? With a glacial Danish librarian? And decided his best means of getting this woman’s attention was to ask his worst enemy, a leading feminist academic, for help?

In a too brightly tiled Gentlemen’s public convenience (Nitin Parmar’s beautifully realised set is as much a character as any of the men we meet), a lad is shaving his head. He’s halfway to the skinhead look of the early Seventies, but he hasn’t quite nailed it – he's too young to know the detail.

Transgression was so deliciously enticing. Back in the Eighties when I saw Les Liaisons Dangereuses in the West End on three occasions, life was simpler – or so us straight white men flattered ourselves to believe.

We can’t do without Così fan tutte; it’s an irresistible masterpiece. But it’s a thorn in the flesh of modern directors, who struggle to find the "relevance" they seem to need in order to get the wretched piece on to the stage.

Whitney Houston once sang that “the greatest love of all is happening to me-ee-eee.” In 2024, however, the greatest love of all, at least in terms of sheer, outward-expanding volume, is happening to Jennifer Lopez (and, one must presume, Ben Affleck).

Piero Schivazappa’s 1969 debut The Frightened Woman toys with living up to its title, suggesting a sadistic test of endurance. Its Italian title, Femina Ridens, though, translates as The Laughing Woman, and this is really an ironically extreme battle of the sexes, carried by extravagant pop art designs and its star Dagmar Lassander’s playful pertness.

Following their award-scooping collaboration on 2018’s The Favourite, Emma Stone and director Yorgos Lanthimos return with this mind-bending adaptation of Alasdair Gray’s eponymous novel. Also on board is screenwriter Tony McNamara, who wrote (with Deborah Davis) The Favourite’s screenplay. You might say lightning has struck twice, with Stone collecting the Best Female Actor award at the recent Golden Globes and the film winning for Best Musical or Comedy.