Of all the ingenues in all the world of golden TV sitcom, Felicity Kendal was the most innocent, the most wicked, the most deceptive, with an amaretto voice that wheedled like a child and seduced like a witch. Half a century on, there must be a heck of a portrait in her attic because at 78 Kendal displays intact all her qualities – including that elfin prettiness – in a glorious star performance as Filumena, the mother-of-three in want of a husband in Eduardo di Filippo's classic comedy.

Air travel is bad for us. Yes, yes, I know we need planes to take us long distances, but look at the downside: not only the carbon footprint, but also the anxiety. I used to feel pretty relaxed about flying, then – one day on a short European flight – there was a spot of turbulence and I glimpsed the faces of the cabin crew. And they were certainly not relaxed.

Forced Entertainment is a theatre company based in Sheffield, touring original performances around the world. The core group of 6 artists has been working together for 40 years, often inviting others to collaborate on particular projects. From the outset we wanted to make a different kind of theatre, incoporating influence from music, cinema, visual art, stand-up and performance art as well as from experimental theatre. The idea was to make theatre to speak about the times in which we were living, in a language born out of those times.

The writer-director Josh Azouz and actor-director Kathryn Hunter have collaborated on a piece exploring the ethics of being an army of occupation. Or, at least, I think that’s what Gigi and Dar is aiming for. 

Contemporary reworkings of Greek tragedy run a very particular risk, that out of context the heightened actions of the original plays – the woefully poor judgement, the copious bloodletting, the rush to disproportionate vengeance and suicide – can seem like hapless histrionics and just a bit daft. 

As hurricanes rip into the American Gulf states with increasing ferocity, Eastern Europe disappears underwater and even the gentle British rain becomes a deluge, the arrival of Daisy Hall’s debut play Bellringers at Hampstead Theatre’s Downstairs space couldn’t be more timely,

It’s always fun jabbing at the permanently open wound that is Anglo-French relations, now with added snap post-Brexit, its fading, but still frothing, humourless defenders clogging up Twitter and radio phone-ins even today. So it’s probably timely for Gallic-Gang Productions to resurrect Jean (La Cage aux Folles) Poiret’s farce Fefe de Broadway, adapted as French Toast.

"Captain" Jack Boyle is a fantasist, a mythmaker, a storyteller. He relishes an audience – usually his sidekick, Joxer. There is a theatricality in his part as written by O'Casey, but in Matthew Warchus's hands this is made an explicit element of the whole production, culminating in the unexpected finale. When the first scene opens, swags of red stage curtains rise and remain looped in place throughout, framing the action.

Why should we not look back in anger? With the Oasis reunion tour in the news recently, the title of John Osborne’s seminal kitchen-sink drama – which kicked off the whole cultural phenomenon of the Angry Young Men on its first staging in 1956 – has again become familiar in its reminted version, to a new generation.

What do the cult TV show Squid Game and National Changgeuk Company of Korea’s Lear have in common? Oddly, a K-Pop producer, Jung Jae-il, who has created additional music for Lear.