This episode of the celebrity genealogy show began with footage of Naomie Harris at Ian Fleming's former home in Jamaica, where she was helping launch Bond 25 (to be released next year), in which she is playing Moneypenny for the third time. It was a fitting location, as Harris’s folks hail from the Caribbean; her mother was born in Jamaica and her father's family are from Trinidad via Grenada.

It’s too darn hot, BoJo is in Downing Street, and we’re all going to Brexit hell – so we might as well sing the blues. Or at least take a night off from the apocalypse to enjoy a virtuoso company singing them for us in this rousing revival of Sheldon Epps’ 1980 musical revue, which showcases jazz greats like Bessie Smith, Duke Ellington, Benny Goodman, Johnny Mercer and Harold Arlen.

The Left Behind is a television drama marinated in real-world research. It tells the story of a young man unable to break free from his bullshit job, zero-hour existence, thrown out of his family home when the council decide that as a single man with no dependents he isn’t a housing priority. He is seduced by a far-right, anti-migrant explanation for his plight and eventually drawn into a sickening hate crime.

Few theatres have done as much to promote new young talent as the Royal Court; few theatres have done as much to stage plays about the pains and pleasures of the digital world; few venues have tackled the themes of race and gender in contemporary society more effectively. Now, once again, it's time for a young writer to make their debut in the upstairs studio space.

When I first read One Night in Miami, I instantly felt a strong connection to the piece and its story.

The huge achievement of the last two decades of August Wilson’s life, right up to his death in 2005, was his “American Century Cycle”, in which he charted the African American experience over that time frame decade by decade, its action set largely in the downtown Hill District of Pittsburgh where the playwright grew up.

Most of the facts about the Atlantic slave trade are well known; what is less easily understood is how history can make a person feel today. A question which invites an experimental approach in which you test out emotions on your own body. In 2016, the artist Selina Thompson did just that. Along with a filmmaker friend she made a boat trip from Britain to Ghana, then travelled to Jamaica, then back again.

Where would Tennessee Williams's onetime flop be without the British theatre to rehabilitate it on an ongoing basis?

Here they come again – the band most adept at capturing the mood of an era in catchy, critical three-minute songs. Just at the very point we need them most, the original ska-punk popsters surface and their message is as deeply relevant as it was four decades ago. But is this a 40^th anniversary or a number one album tour? Or both?

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).