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.

Jenna Coleman has had a mostly upbeat acting CV to date, notably playing Clara in Doctor Who and the young Queen in ITV’s Victoria. The mood darkened with her excellent turn as the French-Canadian girlfriend of the mass murderer in The Serpent; now it turns to pitch with Wilderness.

We’re in (pretty much literally so in this most intimate of venues) an Edwardian sitting room, time hanging heavily in the air, gentility almost visibly fading before our eyes.

Adults, Traverse Theatre ★★★

In 2012 Dexys returned with their fourth album, and first in 27 years, One Day I’m Going to Soar. It was a concept piece, original and funny, chewing over the volatility of love, containing wonderful set-pieces, most especially a trio of songs at its centre (“I’m Thinking of You”, “I’m Always Going to Love You” and “Incapable of Love”) which humorously excoriated the fickleness of romance.

It’s been more than 20 years since the premiere of The Shape of Things, Neil LaBute’s prickly drama about couples and friends and the ways we change each other. And boy, does it show. Director Nicky Allpress and a talented young cast try their best with a script that, though updated for this version at the Park Theatre, still feels behind the times.

There’s been a good deal of discussion on “the socials” about how much Janelle Monáe’s sexy image is a new thing or a big deal.

Casual viewers, still stuck on the suit-wearing image with which she crashed into public consciousness in 2010, have acted shocked at her going almost or completely unclad in recent videos and shoots. In turn fans have pointed out the obvious – that her outré sense of fashion and costumery has manifested in many ways over the years, including in plenty of flesh-baring. 

Sophia Giovannitti begins selling sex because it promises to make her the most amount of money in the shortest amount of time. She also has a “near categorical hatred of work.”

“This audience is very diverse, isn’t it?” joked one of the audience members at Fucking Men at Waterloo East Theatre, a reworking of Tony-winning writer Joe DiPietro’s seminal 2008 play (itself a reworking of Arthur Schnitzler’s La Ronde, written in 1897).

Sometimes I go outside and look at our kitchen drain. Where there should be a vortex there’s a largely static pool. Tree roots have recently grown through the old pipes, their clumps colonised with fat, dog hair and coleslaw bits, and though a bit of handpumping will shift some of the stale water for a while, it really needs systemic attention from Dyno-rod. A good Dyno-rodding is what Chichester’s new production of Noel Coward’s The Vortex needs too.