‘Night, Mother remains a play of piercing pessimism, something that’s not necessarily the same as tragedy, though the two often run congruently. The inexorability of the development of Marsha Norman’s 1983 Pulitzer Prize winner certainly recalls the tragic arc of drama, but its sense of catharsis remains somehow limited.

Trigger warnings have become commonplace in theatres these days, but few chill the blood like the description "a new musical" on a playbill. There are so many things to go wrong, so few ways to get things right and, never far away, the dissenters who caught ten minutes of the Sound of Music during its annual Christmas TV airing and won’t stop telling you exactly how they feel about musicals.

"You need to get better at communicating", says one character to another in Isley Lynn’s albatross. Indeed, the same advice would fare well with many of those in the Anglo-American Lynn’s new play, where miscommunication plagues a range of relationships and chance encounters

I’ve lived in Brixton, south London, for about 40 years now, so any play that looks at the gentrification of the area is, for me, definitely a must. Like many other places in the metropolis, the nature of the urban landscape has changed both due to gradual factors — such as migration — and spectacular events — like the Brixton riots of 1981 and 1985.

“I want to tell her that people will be good,” Tewodros Aregawe of Phosphoros Theatre confided to us as Little Amal closed her eyes on the giant bed made up for her in the Paul Hamlyn Hall, “that all the people with kind eyes who have walked alongside her and listened to her story will be louder than those who wish she wasn’t there”.

Two tribes, both alike in dignity in fair Vanara, trade goods and insults in a post-apocalyptic world in which fire is known to The Kogallisk but not to The Pana. When The Oroznah, a shaman respected by both feuding factions, foretells a long winter to come, The Pana must do all they can to steal the fire from The Kogallisk in order to survive the long nights.

But the two bright young heirs have other ideas – Mohr, the sensitive Pana warrior, catching the eye of Ayla, the idealistic Kogallisk princess, and another way to salvation emerges.

Jaws was the Moby Dick of late 20th century capitalism, a fantasy about fear and the unknown for a society that had rarely felt more secure and powerful.

Grenfell: Value Engineering isn’t actually a play. It’s an edited version of the testimony heard by the Grenfell Tower Inquiry, particularly Phase 2, from January 2020 to July 2021. Along with director/producer Nicolas Kent, Richard Norton-Taylor has distilled the Inquiry’s proceedings into two-and-three-quarter hours of devastation. They show that tens, maybe even hundreds of people are responsible for the fire that killed 72 and injured almost as many.

This is simultaneously a love story and an archaeology of hate, a sparky, spiky encounter between two individuals whose chemistry proves as destructive as it is explosive.

“Careful, there’s a hole in the floor.” The warning’s an unusual one, passed along conscientiously by the stewards at the door of the tiny Orange Tree Theatre.