Does a subjective theatre piece encourage a subjective critical response? I think it might, especially when it’s a memory play about dementia, so here goes: first I turn off the lights, then I press play. From the darkness comes jaunty music – it’s a dance class. The teacher says, “We’re not used to having a man in class, are we ladies?

“Your task is to imagine the future.” That’s what the citizens of Assembly, a new streamed production performed and devised by the Donmar Warehouse’s Local Company, are told. It can be anything they like, so long as they make it together – which is the catch, of course. Since when did a citizens’ assembly ever agree on anything? 

Let’s face it, most adaptations of classic novels are disappointingly pedestrian. They are so middle-of-the-road – fancy-dress characters speaking fancy-dress dialogue in fancy-dress plots. But there are memorable exceptions: Amy Heckerling’s film Clueless brings Jane Austen’s Emma squealing into our world, while Martin Crimp’s Misanthrope and Cyrano de Bergerac do the same for theatre’s Molière and Rostand.

All theatre is local — if you can’t get to where a show is playing you can’t see it. That is, until a pandemic closes all theatres and forces their shows to go online.

Which of Shakespeare’s plays is most plagued by misperception? For my money, I would argue A Midsummer Night’s Dream. Most people encounter it at school age because of the ease with which it can be dressed up as a light comedy involving fairies. Yet at heart this is a deeply primal work which draws upon the raw power of the elements to look at the arbitrary nature of desire and how radically it can rewrite any individual’s life.

As the events of last year made clear, the police have a problem with race on both sides of the Atlantic. In the UK, BAME people are more than twice as likely to die in police custody while being forcibly restrained than people from other social groups. Written by award-winning actor and writer Ryan Calais Cameron, Typical is a powerful and inspiring example of how theatre tackles institutional racism.

I’ll admit, I’ve never been a fan of murder mysteries. Patience is not one of my virtues; if I can’t work something out in 30 seconds, I’m liable to give up, and whodunnits tend to need a bit longer than that.

The four monologues that make up Barnes’ People were filmed in the grand surroundings of the Theatre Royal, Windsor, and that venue's atmospheric spaces (now deserted, of course) seem to tell a sad tale of their own, one that chimes rather appropriately with the mood of some of them.

This production of The Color Purple is an extraordinary testimony to the fact that many of the 20th century’s most joyous forms of music – jazz, ragtime and of course blues – had their roots in misery and oppression.

Contact without touch: among the many readjustments that the pandemic has brought to theatre, its demands that restrict direct contact almost to nothing must be among the most testing. We have learnt much about how rigorously any new production – for now, only live-streamed – must be prepared: the regular testing in rehearsals, the two-metre distancing, the repeated cleaning of props.