Shuck 'n' Jive is an hour-long two-hander about writing a play about being black in a white industry. The industry? Theatre. Performance. The stage.

Putting a radical spin on a fish-out-of-water story, The Last Tree explores troubling aspects of the African diaspora experience in an England riddled with xenophobia and black-on-black racism.

One question springs immediately to mind on hearing that Romesh Ranganathan’s new stand-up show, The Cynic’s Mixtape, is touring: how does he find the time? Ranganathan has overtaken Jack Whitehall as Britain’s most media ubiquitous comic, with a deluge of TV shows and appearances, a column in the Guardian newspaper and even a recent autobiography. However, his TV CV is hit’n’miss, which leads to a second question: can he still cut it in the live arena?

The Ailey company is that rare thing – a dance legend that’s even better than you remember. While no one forgets their first encounter with America’s No.1 touring troupe and its unique mix of ballet, modern, jazz, street, and all-round athletic fabulousness, repeat viewings only increase one’s respect.

Identity politics has been around for decades. One of the great things about the Bush Theatre in West London is the fact that it not only stages new plays by a diverse range of playwrights, but also successful recent revivals of modern classics such as Winsome Pinnock's Leave Taking and Caryl Phillips's Strange Fruit.

There is no equivalent of the Ailey phenomenon. This is a modern dance company with a New York square named after it. It’s a dance company that has performed at the inauguration of two presidents. Its calling card, Revelations, a suite of dances first performed in 1960, is the most-watched modern dance work anywhere, ever.

Of all grime's original generation, Kano has a strong claim to being the greatest rhyme-constructor in the old school hip hop sense of dense rhymes packed with multiple meanings. Add movie star looks and a penchant for fur coats in photoshoots and he was most young grime fans' tip for following Dizzee Rascal into the big league.

Emmanuel (Anthony Ofoegbu) runs Three Kings Barbers in London. His assistant, Samuel (Mohammed Mansaray), is the son of his erstwhile business partner, who is currently in jail. Emmanuel is boss, surrogate father and — occasionally — verbal punching bag: Sam is a whizz with the shears and just as cutting with his tongue. 

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.

This witty street-smart play about a white-skinned boy born to a mixed-race mother deploys its narrative with the dexterity of a dance. Two performers move backwards and forwards across the stage, switching through different characters, skin colours, genders and generations, as they tell a story of pride, poverty, passion and prejudice.