A lot has happened to British-Canadian comic Katherine Ryan since she last toured and was expecting to go back on the road in 2020 – the “pandem”, which affected us all, of course, plus unexpected marriage and second-time motherhood. Updating us on that, plus her thoughts on much more, is a lot to pack in but she does so at pace in a show that barely stops for breath.

Catherine Bohart had a more eventful lockdown than most, as it marked the end of a five-year relationship and what she describes as a sort of breakdown followed. To add insult to injury, the break-up came not along after she and her girlfriend, fellow comic Sarah Keyworth (whom she doesn't name in the hour), had launched You'll Do, a podcast about – you've guessed – love and relationships.

Wind the clock back 45 years and the Big Apple was bankrupt, the lights had gone out and many native New Yorkers were packing their bags. Gangs controlled whole neighbourhoods, drugs were the currency of choice and, for a kid with no college, prospects were strictly limited. The movie Saturday Night Fever captured this social decay, illustrating the crisis of confidence that suffused so many big Western cities.

One of the many theatrical casualties of Omicron in December was the official UK opening of Moulin Rouge!, the stage version of Baz Luhrmann’s indelible 2001 film that has already racked up 10 Tony Awards for its 2019 Broadway production (albeit in a depleted season).

There was no live theatre at the start of 2021, just a return to the world of virtual performance and streaming to which we had become well accustomed, and very quickly, too. So imagine the collective surprise come the start of this month as show after show, venue after venue, ceased performance or curtailed operations, however temporarily.

When the Canadian Yann Martel went to India as a young adult backpacker he fell in love – not with one person but with the rich imaginative landscape opened up by its religions and its animals. A struggling writer at the time, he channelled this new love into a dazzling idiosyncratic narrative about a shipwrecked Indian boy who survives 227 days at sea with a zebra, a hyena, an orangutan and a Bengal tiger called Richard Parker.

It seemed impossible and yet, the other evening, while idly flicking through emails, I learned the unimaginable: Stephen Sondheim, age 91, had passed away. And very quickly by all accounts, given that he was reported to have enjoyed a Thanksgiving meal with friends just the previous day.

Vanya and Sonia and Masha and Spike has taken eight years to reach the London stage, which is surprisingly long for the Tony Award winner for Best Play of 2013: the pandemic, unsurprisingly, didn't help. But in a burst of somewhat un-Chekhovian confidence, here it now is re-cast from a previous run in Bath, and the wait has been worth it.  

Can we turn off the script and simply leave the music to do its soul-stirring bit?  That's likely to be a not uncommon response to Get Up Stand Up!, which gives Bob Marley much the same biomusical treatment currently on view in Tina across town (and in New York). The difference, of course, is that Tina Turner is soon to be 82, whereas Marley died 40 years ago, at the preposterously premature age of 36. 

The first two stage adaptations of Hilary Mantel’s Thomas Cromwell trilogy, Wolf Hall and Bring Up the Bodies – written by Mike Poulton, way back in 2014 - were a very different beast from the novels, but they were at least eyecatching plastinations of her unruly human characters, made attractive to those who had not read the novels.