Might we be nearing light at the end of the lockdown tunnel? It definitely seems that way, with the news in recent days that social life beyond the home may be resuming soon, at least after a fashion. All the while, theatrical offerings continue to come thick and fast, all the while offering up a cheeringly broad away of online prospects.

Ian Holm was once in his local cinema on High Street Kensington, enquiring at the ticket office about concessions for people who appeared in the film they wished to see. The unlucky vendor failed to make the connection between the short customer with full beard and the clean-shaven priest in the sci-fi caper showing on Screen Four upstairs. He had to make an internal call to the manager. "There's someone here who says he's in The Fifth Element. Wants a discount." "Oh yeah. What's his name then?" "Ian Holm." "Ian Holm!"

A British-Jamaican man is confused. It's the Second World War, and he signed up for the RAF on the understanding that he would serve as a pilot overseas. But instead he's ended up as ground crew in a grey Lincolnshire village. "You are overseas, aren't you?" sneers his sergeant.

As lockdown continues, National Theatre at Home has announced its final sequence of plays, and several of the very best are being saved for last. That certainly applies to this week's offering, Small Island, whose dissection of Britain's racist past couldn't be timelier.

What could be better for a lockdown summer night "out" than a virtual visit to Shakespeare's Globe? Simultaneously in a theatre and the open air, we can share the visible enjoyment of hundreds of others, the very opposite of self-isolation and social distancing.

It has been the fate of George III – who on many levels was a visionary and accomplished monarch – to go down in history as a comic figure, most famed for losing first America and then his mind.

The government may occupy shifting sands when it comes to handling Covid-19, but the arts thank heavens continue to step up to the plate with a dizzying array of online options. This week's output mixes a soul musical from 1970s Broadway alongside a major revival of a play by Alan Bennett whose enquiry into the psychological well-being of those in charge will doubtless resonate anew today.

If any musical can live up to this title in these troubled times, it must be this show from Graeae, a theatre company whose mission is to champion the work of Deaf and disabled artists.

An arrogant leader contemptuous of his people. Could there be a more perfect timing for Josie Rourke’s taut, visceral production of Coriolanus?

As we continue into a third month in lockdown, the arts continue to suggest ever-changing worlds beyond. The invaluable National Theatre at Home this week looks across the Thames to a smaller venue's large-scale Coriolanus, starring a certain superhero movie icon, whilst the equally cherished Graeae streams their lively musical theatre tribute to the late Ian Dury.