Nicholas Hytner’s A Midsummer Night’s Dream, filmed for NT Live at the Bridge Theatre last summer, is – as it gleefully acknowledges – completely bonkers. But it doesn’t start out that way. A troop of actors trudge through the audience, singing dirge-like psalms in dark suits and The Handmaid’s Tale-esque headwraps.

A musical featuring two people who are physically separated? Jason Robert Brown’s work is a shutdown natural – as this new digital theatre version demonstrates.

A British-Jamaican man is confused. It's the Second World War, and he signed up for the RAF on the understanding that he would serve as a pilot overseas. But instead he's ended up as ground crew in a grey Lincolnshire village. "You are overseas, aren't you?" sneers his sergeant.

What could be better for a lockdown summer night "out" than a virtual visit to Shakespeare's Globe? Simultaneously in a theatre and the open air, we can share the visible enjoyment of hundreds of others, the very opposite of self-isolation and social distancing.

It has been the fate of George III – who on many levels was a visionary and accomplished monarch – to go down in history as a comic figure, most famed for losing first America and then his mind.

If any musical can live up to this title in these troubled times, it must be this show from Graeae, a theatre company whose mission is to champion the work of Deaf and disabled artists.

An arrogant leader contemptuous of his people. Could there be a more perfect timing for Josie Rourke’s taut, visceral production of Coriolanus?

There is a line of argument that – unfairly – blames playwright James Graham for Dominic Cummings. Would Cummings, some might ask, have achieved the influence he has now if it hadn’t been for his depiction in Graham’s brilliant TV drama Brexit: The Uncivil War in which he was played as an obsessive genius by Benedict Cumberbatch? 

The National Theatre’s triumphant march through its archive of NT Live recordings continues this week with a glorious blaze of a show. Starring Gillian Anderson, Ben Foster and Vanessa Kirby, this 2014 revival of Tennessee Williams’s 1947 modern classic A Streetcar Named Desire was a Young Vic production, and its film version is presented by National Theatre at Home.

A running gag in David Nicholls' novel The Understudy is that its main character is called Steve McQueen. Not that Steve McQueen, the multi-award-winning, critically acclaimed, rich and successful one. 

No, this Steve McQueen (Russell Tovey) is recently divorced, lives in a horrible studio apartment and has an acting career that is going nowhere. Then he lands the role of understudy to Josh Harper, aka the 12th sexiest man alive, making his West End debut in a serious role. Will his luck change?