To proclaim that you’re playing gender games with Shakespeare’s As You Like It seems a little like announcing that you have a bicycle with two wheels, or indeed that you’re doing something interesting with rhythms in Stravinsky’s Rite of Spring.

That Shakespeare speaks to his audiences anew with every production is a cliché, but, like so many such, the glib blandness of the assertion conceals an insistent truth. The Thane of Glamis has had some success in life, gains preferment from those who really should have seen through his shallowness and vaulting ambition – he even says the phrase himself – and achieves power without really knowing what to do with it.

Rebecca Frecknall’s Romeo and Juliet burns like ice, paring back and tightening the script so that love and death are constant bedfellows. She underscores her vision with a thrilling, furious physicality, interspersing explosive fight scenes with steely dance sequences heightened by Prokoviev’s immortal Montagues and Capulets.

Two years on from Sean Holmes’ production and seven on from Emma Rice’s (both of which featured diverse casts), Elle While takes a turn with the old warhorse’s lovers and fairies, its sparring couples and its Morecambe and Wise-like shambles of a play-within-a-play. The question hangs in the air – what to do to excite audiences, some of whom are so familiar with A Midsummer Night’s Dream that, a row behind me, they were laughing a beat before the punchlines were delivered?

Shakespeare drew on Plautus’s Menaechmi for this early short comedy. Was it his competitive streak that made him up the ante with not one set of identical twins but two?

Plays about the theatre are many and varied, from Gypsy and Noises Off to the numerous Shakespeare works that absorb theatrical performance into their very fabric.

This is a Hamlet for fans of speed-dating. It comes in at just over the two-hour mark, which is standard for a feature film. But considering the uncut text runs to four hours, as it did in the 1996 Kenneth Branagh film (and his earlier stage production), big chunks of text have clearly gone missing.

As course after course of Noma-style creations are served up to Leontes and his guests – curious mouthfuls with their accompanying spoons, edible branches as though straight from the tree, elaborate miniatures ritually revealed from beneath a cloche – it’s clear that, in Sicilia, eating is scarcely the point. When you dine among sleek Swedish interiors, surrounded by a military drill-team of waiters, it’s hardly going to be about anything so vulgar as appetite, is it?

You’d hardly call a director particularly perceptive for highlighting Lady Macbeth as the true power behind the throne, scheming and cajoling her husband’s bloody ascent to the crown. In her audacious, provocative and thoroughly compelling Macbeth (an undoing), however, writer/director Zinnie Harris goes much, much further – so far, in fact, that a couple of her characters seem confused as to whether Lady Macbeth is herself the King.

If All's Well That Ends Well, Measure for Measure and Troilus and Cressida have earned the sobriquet "‘problem plays", what price Titus Andronicus? Does a director seek out a Saw vibe for the horror? Do they go for a deadpan Spinal Tap’s disappearing drummers for the demises? Do you go hard and locate the murders within the atrocities being committed on European soil right now?