Playwright and performer Tim Crouch is one of Britain's most innovative creatives, with a big back catalogue of challenging and stimulating stage work. Typically he tells stories about profound loss, while simultaneously questioning the basis of theatrical representation: how is what we see on stage true? In what way is it real? And how can you tell?

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in 2

In the current feverish atmosphere at Westminster, with arguments about Brexit becoming increasingly shrill, the time is right once more for political theatre: serious plays about serious issues. Oddly enough, however, while television has effectively dramatized the current crisis, in films such as Channel 4's Brexit: The Uncivil War, theatre seems to take a more oblique approach by setting its stories in the past.

A tale of teenage depression and its family resonances, Florian Zeller’s The Son has a devastating simplicity. It’s the final part of a loose trilogy, following on from the playwright’s The Father and The Mother, but the new play eschews the obliquely experimental structure of its predecessors for something much more direct.

It was a bold choice by director Blanche McIntyre to stage Ben Jonson's seldom performed, sprawling slice-of-life play in the bijou Sam Wanamaker Playhouse rather than Shakespeare's Globe's main stage – even if she has pared down both the script and what seems like a cast of thousands for her modern-dress production.

We're saying goodbye to a much treasured friend. Fleabag will live on, of course – other actresses have and will inhabit the role – but Phoebe Waller-Bridge, its creator, has said this short run at Wyndham's Theatre is the last time she will perform the character on stage.

Neil Armfield’s resonant, turbulent production of Kate Grenville’s classic Australian novel The Secret River sing out from the stage of the Olivier like an epic, with its conflicts, culture clashes, and quest for new territories.

You can’t fail to feel the ghosts in Appropriate at the Donmar Warehouse: they are there in the very timbers of the ancient Southern plantation house that is the setting for Branden Jacobs-Jenkins’s fraught – and often very funny – family drama.

After six years, associate director Robert Icke bids farewell to the Almeida Theatre. In this time he has pioneered contemporary versions of classic stories, such as 1984, Oresteia, Uncle Vanya, Mary Stuart and Hamlet with Andrew Scott.

The Red Pleasance Dome ★★★★