I knew what a Howard Hodgkin painting would look like before I ever saw one because of Nigel Slater. There’s a recipe in one of his very early books, Real Cooking, for “A creamy, colourful, fragrant chicken curry” which he candidly admits is “seriously unauthentic”, with ingredients that will leave some purists “really pissed-off”. But it’s a wonderful recipe, and as ever this is partly to do with the words he chooses to describe it.

Birdsong, Sebastian Faulks’ best-selling First World War novel, has been adapted quite a few times in its twenty-seven years.

The movie adaptation of Lin-Manuel Miranda’s In the Heights was meant to hit cinemas this summer, but, in response to Covid-19, has been put back to 2021.

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?