Òran, Pleasance Courtyard ★★★★ 

On opening night, there’s always a little tension in the air. Tech rehearsals and previews can only go so far – this is the moment when an audience, some wielding pens like scalpels, sit in judgement. Having attended thousands on the critics’ side of the fourth wall, I can tell you that there’s plenty of crackling expectation and a touch of fear in the stalls, too. None more so than when the show is billed as a new musical.

Ni Mi Madre, Pleasance Dome ★★★★ 

More surely than any other London stage, the Globe has opened up our theatrical perspective on different languages. Its triumphant “Globe to Globe” 2012 season presented the Shakespeare canon in 37 different linguistic interpretations.

Bellringers, Roundabout @ Summerhall ★★★★ 

Before a word is spoken, a pause held, we hear the seagulls squawking outside, see the (let’s say brown) walls that remind you of the H-Block protests of the 1980s, witness the pitifully small portions for breakfast. If you were in any doubt that we were anywhere other than submerged beneath the fag end of the post-war years of austerity, the clothes confirm it. And a thought surfaces and will jab throughout the two hours runtime: “How different are things today in, say, Clacton?”

At one point, in John Fowles’s 1977 novel The Magus, the guru character in the story compares sexuality before and after the 1960s. He says that although “young people can lend your bodies now, play with them, give them as we could not”, there is also a loss – “a world rich in mystery and delicate emotion”.

Two boys in east London, one Black, one white, grow up together, play pranks at school, then decades later have a tempestuous falling out. That’s the main narrative arc of these twin plays, but it accounts for none of their extraordinary richness and the superlative acting they entail. 

Adam Riches: Jimmy, Summerhall ★★★

The Sound Inside, Traverse Theatre ★★★★★