We live in tragic times given over to cataclysmic events that require outsized emotions in return. That may be one reason to account for the uptick, therefore, in Greek drama, which includes not one but two Oedipi, various adaptations of Antigone, and the arrival on the commercial West End of the obvious companion piece to Oedipus, namely Elektra – the K in the title perhaps nodding to a landscape in which people exist to kill. 

The opening scene of the Old Vic’s Oedipus is dominated by a giant backdrop of a skull-like face, eyes shut and rock-like. It belongs to the actor playing Oedipus, presumably, Rami Malek. This is as near to a close-up of the title character as we get.

Your response to Barney Norris’s one-man play, based on David Foenkinos’s bestselling novel as translated by Megan Jones, probably depends on which of the Gens is yours. 

The phenomenal global success of Six began when two young writers decided to give voices to the wives of a powerful man, bringing them out of their silent tombs and energising them and, by extension, doing the same for the women of today.

In a world tainted with racism and homophobia, the Bush Theatre is something of a refuge from prejudice. As one of the most queer friendly venues in London, it’s no surprise that this theatre is now staging babirye bukilwa’s … Blackbird Hour, a play which explores the experiences of a black queer woman who finds herself on the edge.

If you saw Upstart Crow on television or on stage in the West End, you’ll know the schtick of Sheldon Epps’ dazzling show Play On! Take a Shakespearean play’s underlying plot and characters and relocate them for wit and giggles. “Make it a musical“, you say? Okay, but who’s going to do the score, who’s going to dare to follow in the footsteps of Lenny and Steve, of Cole, of Elton (okay that one came a bit later)? “Duke Ellington!” Right. You’ve sold it.

How excited Reece Shearsmith and Steve Pemberton must have been to learn that the venue for their Inside No 9 stage show was haunted, by an actress killed onstage there in 1921 when a death scene went fatally wrong. How very them.

There’s not much point in having three hours worth of Shakespearean text to craft and the gorgeous Sam Wanamaker Playhouse as a canvas if you merely intend to go through the motions, ticking off one of the canon’s less performed works. The question for Jennifer Tang, making her Globe directorial debut, is what to do with this beautifully wrapped gift. The question for us is does it work. 

In a dingy room with dilapidated furniture on a dismal Sunday evening, two detectives prepare for an interview. The old hand walks out, with just a little too much flattery hanging in the air, leaving the interrogation in the hands of the up-and-coming thruster, a young woman investigating the disappearance of a young woman. Alone, with just a camera for company (we get the video feed also from hidden cameras too) she awaits the suspect for the showdown.

As something of an immigrant to the capital myself in the long hot summer of 1984, I gobbled up Absolute Beginners, Colin MacInnes’s novel of an outsider embracing the temptations and dangers of London.