Henry V is a play with so many layers, and such ambivalence, that it can suit a multitude of purposes. When Laurence Olivier made his film version in 1944, it was as a propagandist rallying cry, a reminder of what was at stake in a war that was far from won; 60 years later, Nicholas Hytner’s modern-dress production at the National Theatre was a bullish anti-war statement, lent potency by the country’s then current excursion into Iraq.

Visualise a large lost property office, such as that for Transport for London at Baker Street, which inspired this production, its racks stuffed with thousands of items, from false teeth to umbrellas, prosthetic limbs to mobile phones. You name it, it’s been lost – and found. Why, only the other day, some loved one’s ashes were left on the tram between Manchester and Bury.

You wouldn’t be surprised, in the programme for Elevator Repair Service’s adaptation of F Scott Fitzgerald’s jazz age masterpiece The Great Gatsby, to find instructions for gentle exercises to stave off deep-vein thrombosis. With a run-time of eight hours, during which every single word of the novel is spoken on stage, in one sense Gatz is no adaptation at all.

A powerful trend in contemporary theatre is the family play. But the families usually depicted tend to be of the standard two-point-five variety, while other more complex forms — families as they actually are — tend to be ignored. So initially the good thing about Vivienne Franzmann’s new play is that it focuses on a family where the child is adopted. More controversially, it is about a white man who adopts a black girl from Africa.

If you weren’t sick when you arrived at Les Cerisiers, the private psychiatric hospital in this satiric early Sixties drama by Swiss playwright Friedrich Dürrenmatt, you probably would be by the time the institution had finished with you. Its all-female staff are either grotesque or pulchritudinous; and the latter category have a worrying tendency to wind up murdered.

We’re fresh out of superlatives. The Globe to Globe season has put a girdle around the earth in 37 languages, and the visiting companies have now left the building. You have to high-five the Globe’s chutzpah for mounting this wondrous contribution to London 2012’s World Shakespeare Festival in the first place. But in quite properly keeping the biggest till last, it surely took extra testicles to stage the famous play about a royal family in turmoil on this of all weekends.

Productions at the life-changing Globe to Globe sequence of international takes on the Bard have had numerous points of origin, from shows conceived directly for the event to reprises of stagings that in the case of the Brazilian Romeo and Juliet was decades old. So why shouldn't France of all countries deliver a Much Ado About Nothing straight from the charcuterie? Here was arguably Shakespeare's most affecting and nuanced comedy served up with funny voices, exaggerated gestures and an extra helping of jambon. 

Diamonds one day, stones the next: compulsive giver Timon’s swift descent into raving misanthropy would be better packed into a gritty pop ballad than a full-length play. Still, Shakespeare just about pulls it off: having had more of a hindering than a helping hand from Thomas Middleton in early scenes, he comes into his own with howling, Lear-like invective.

The Comedy of Errors may not be one of Shakespeare’s most notable plays, yet this production embodied the essence of the Globe to Globe season. While the play was lent new kinds of hilarity and colour when interpreted within a different culture, I can’t begin to imagine what appearing in The Globe must have meant to the troupe performing it.

They say that men, at whatever age, never leave the playground. We are told that boys will be boys. But what is this kind of infantile masculinity really like, and is there anything new to say about it? Ella Hickson’s latest play kicks open the door on a group of students and youngsters living in an overheated Edinburgh flatshare, and catches them at a crucial point in their lives. At the moment, they plan to party. But what will happen after they sober up?