There is a promising production struggling to get out of this muddled concept. Creation Theatre (here partnered with Watford Palace) is well known for innovative, site-specific pieces, one of which –The Tempest – was adapted for the screen, including interactive elements, last year. I missed this, but reviews suggest it worked well.

It wasn’t Jane Austen’s subtlest move, naming her roguish soldier George Wickham. As countless GCSE English teachers have patiently read in generations of essays, his surname sounds a lot like "wicked" – and wicked he is.

To accept or not accept a donation: that’s certainly the burning political question of the moment.

I think I can safely say that polymath playwright Philip Ridley has had a good lockdown.

It has been a hard coming for this RSC Winter’s Tale. Erica Whyman’s production was cancelled by the virus days before its premiere last spring, with plans to stage it in the autumn frustrated by the second lockdown. This broadcast version, retaining that original cast in full, is the first time that a RSC production has gone first to screen, scheduled as part of the BBC's Lights Up season.

Oscar Wilde's fabulous play satirised Victorian England and contained a shedload of quotable quips. Now Yasmeen Khan has written an updated and uprooted version, set in the North of England, which takes aim at any number of class and ethnic stereotypes.

There’s such a genial feel to the pairing of Oliver Ford Davies and Stephen Boxer in Ben Brown’s new play that there are moments when we almost forget the weighty historical circumstances that lay behind the long-awaited encounter between two old friends, this evening of conversation and drinking, that is its subject.

Shakespeare's enduring tale of star-crossed lovers is especially pertinent in a pandemic. The fatal plot twist depends on failed communication during an outbreak of pestilence, and one of the most famous lines is Mercutio's heartfelt, "A plague on both your houses" – clearly no idle curse. Written a couple of years after plague had closed theatres in 1593 (when Shakespeare turned to writing poetry) that undercurrent must have been all too real for the first audiences. It resonates still.

“The crocus of hope is, er, poking through the frost.” When he uttered that dodgy metaphor back in February, Boris Johnson probably didn’t predict that it would become the opening number of the third edition of Living Newspaper, the Royal Court’s anarchic, hyper-current series of new writing.

Just what the Zoom era has brought to theatre – to performers and audiences alike – is something we will no doubt be pondering for some while yet, certainly still in the much-anticipated eventual hereafter when stages in their “traditional” multifariousness are once again standard.