Spoiler alert: About sixty-four minutes into our debut feature film, one of the main female characters undresses for the camera. Alicja is being filmed by the other protagonist, a young American documentarian named Katie. As the sexually charged long take progresses, it becomes apparent that what started out as an erotic provocation (catering to Katie’s palpable attraction to her) gradually descends into Alicja’s traumatic memory of sexual abuse.

One of the features of the converted barn that forms the theatre at Longborough is a trio of statues that tops the front pediment of the building: Wagner, flanked by Verdi on the right and Mozart on the left. No one could question Wagner: Longborough has done him proud.

A rambling portrait of 24 hours in the life of Double Whammies, an American sports bar where the waitresses entertain their TV-watching patrons by dressing in skimpy tops and tiny shorts. Apparently this is categorised as a ‘breastaurant’ (my spell-checker reels at this portmanteau, but there are several well-established chains in the US).

My first, beguiling taste of Hiromi Kawakami’s fiction came when, in 2014, I and my fellow-judges shortlisted Strange Weather in Tokyo for the Independent Foreign Fiction Prize. That delicate, unsettling tale of a romance between a younger woman and an older man had lost its original title (The Briefcase) for something more obviously offbeat. Allison Markin Powell’s finely-phrased translation appeared a dozen years after the Japanese original.

Whitesnake were always the most absurdly priapic of the successful Eighties heavy rockers. It was therefore with some glee that this writer approached their 13th studio album. In the snowflake age, where offence is taken at the slightest politically incorrect infraction, these hoary oldsters would surely be a ball.

Nicôle Lecky’s one woman show Superhoe has added fire to the reputation of an already fast-rising actress and writer. Based around Sasha, a Plaistow girl who aspires to pop stardom, it’s a clear-eyed, very modern play, filled with its central character’s motor-mouthed bravado and examining the Instagram generation’s relationship with sexual objectification. It comes to the Brighton Festival in May.

The grand finale of Jamie Lloyd’s remarkable Pinter at the Pinter season is this starry production of one of the writer’s greatest – and certainly most personal – works, inspired by his extramarital affair with Joan Bakewell.

Not just the Peter Pan of Pop, but also its very own Houdini. With the aid of shed-loads of money, an illusion-spinning PR machine and the most aggressive lawyers that money could buy, Michael Jackson managed to make it to his premature exit in 2009 without being sent to jail.

Have you ever felt the hot shame of saying or doing the wrong thing? Not just embarrassment – that's for amateurs, says Lou Sanders in her wonderfully honest and revealing show Shame Pig, in which she essays some of her life's red-faced moments. Embarrassment is fleeting and lends itself to a good anecdote (or a fine joke in a stand-up set), she says, while shame is a much more corrosive emotion, and one that young women in particular burden themselves with unnecessarily.

It's 18 years since the last Royal Trux album, but it might just as well be 18 months, so easily have they slipped back into their sound. OK, Neil Hegarty and Jennifer Herera have been gigging together again on and off since 2015, but even so it's quite astonishing how natural this record sounds. But then again, the Royal Trux sound was always something that sounded more like a channelling of something elemental than anything composed or contrived.