Surely there’s never been a more apt time for Sondheim’s great cry of defiance? “I’m Still Here” is sung by showgirl-turned-actress Carlotta in Follies (1971) – added during the Boston try-out in place of “Can That Boy Foxtrot”. Loosely inspired by Joan Crawford, it’s the ultimate anthem of showbiz survival.

Here's an irony worthy of the work of Stephen Sondheim, an artist who clearly knows a thing or two about the multiple manifestations of that word. On the same day that he turns 90, namely today, Broadway is unable to host the keenly awaited American premiere, scheduled for this evening, of the gender-flipped Company that stunned London last year.

If you want to pinpoint the genius of Robert Lepage’s multi-faceted seven-hour epic, that has returned to the National Theatre 26 years after it first dazzled British audiences in 1994, you might as well begin with a stethoscope.

The Beatles lyric that gives Mike Bartlett’s terrific play its title dates to 1967, which also happens to be the year in which the first of Bartlett’s three acts is set. What follows are two further scenes in the evolving relationship between Kenneth (Nicholas Burns) and Sandra (Rachael Stirling), set in 1990 and then 2011.

Some wondrous acting is sacrificed on the altar of an increasingly wonky plot in On Blueberry Hill, the first play in 10 years from Sebastian Barry, the Irish playwright and novelist whose onetime Royal Court entry The Steward of Christendom showcased a treasured theatrical memory in the leading performance of the late and truly great Donal McCann.

Jennifer Saunders is a one-woman tickle machine. As her countless appearances in television shows such as French and Saunders and Ab Fab prove, this triple BAFTA winner is box office magic. The mere incantation of her name is enough to sell out any West End show.

If there’s one certainty about the Edinburgh Lyceum’s production of Mrs Puntila And Her Man Matti  – and there aren't many in this unsatisfying, overlong revival – it’s that Elaine C Smith makes a terrific drunkard.

On my way to see this show, I see an urban fox. Before I can take a photo, it scrambles away. And I'm sure that, as it goes, it winks at me. This weird moment is a great prologue to EV Crowe's new play, virtually a monologue starring Katherine Parkinson, which is weird, and then some. And then some more. Although it is very short, at just over an hour long, it is a powerful account of female middle-class anxieties in Britain today.

It may seem strange to watch a play about four English people on a kibbutz in the Seventies, and find yourself thinking about Brexit, but that’s precisely what springs to mind here. Culturally blinkered and politically ignorant, most of the characters seem to see their first trip to Israel as little more than an opportunity for sex and better weather. 

There’s concept on top of concept in this revival of Jason Robert Brown’s beloved 2001 musical, which charts the ebb and flow of a relationship by juggling timelines: aspiring actress Cathy’s story is told in reverse chronological order, while aspiring writer Jamie’s moves forward. It’s an apt framing for a couple who are never on the same page, their dual ambitions and relative success wrenching them apart.