After Barber Shop Chronicles comes a female slice of pan-African life, set in Harlem in July 2019, at the fag end of Donald J Trump’s first presidency. Playwright Jocelyn Bioh never mentions him by name, but his shadow looms over the lives of the braiders, all aiming to become US citizens.

At least, his shadow looms over them now. Bioh’s tweaking of the text for the London run has added topical plot points from the second Trump presidency to give this bouncy Tony-nominated comedy a real sting in its tail.

In its heyday, Rodney Ackland’s 1935 play The Old Ladies, adapted from a 1924 novel by Hugh Walpole, was a favourite with doyennes of the theatre world including Edith Evans, Flora Robson and Miriam Karlin. But it has languished unstaged in London for more than 30 years.

Playwright David Hare is on a West End roll. Not only is his new play, Grace Pervades, about super thespians Henry Irving and Ellen Terry, making its way from Bath’s Theatre Royal to the Theatre Royal Haymarket next month, but his 1976 play with songs, Teeth ’N’ Smiles, now arrives at the Duke of York’s. Both are star-laden accounts of performance, with Ralph Fiennes and Miranda Raison as the Victorians, and Rebecca Lucy Taylor as Maggie the 1970s rocker.

Are Seán O'Casey's Dublin plays good for theatre today, or just for the history of Irish drama?

Though there are few starry, starry nights in Stockwell these days, nor flaming flowers that brightly blaze, you can find ragged men in ragged clothes outside the Tube station. One hundred and fifty years ago, when a fiery redheaded lad pitched up in SW9 asking for a room, something happened and, if we don’t know exactly what, we can have fun wondering can’t we?

Which crimes are the hardest to forgive? Violence; sexual assault; aggravated sexual assault? Yes, that kind of covers the territory. In Sarah Power’s new play, Welcome to Pemfort, currently playing at the Soho Theatre, this ethical and personal dilemma comes wrapped in an oddly discordant comedy about a countryside castle planning its first Living History event. You know the kind of thing: jousting, dressing up in medieval garb and serving olde English grub. But what about the crime? 

If you’ll forgive me the first of two tiptoes into Gonzo Journalism, a few weeks ago I found out that I have a faulty gene - not a romantically tragic Romanov one, but a defect on the double helix that had already manifested itself in a condition affecting my family and that I may have passed to my sons.

Gorky's satire is set in the summer of 1904, between the opening of The Cherry Orchard and Chekhov's death that year, and the first Russian Revolution early in 1905. Summerfolk has echoes of Chekhov, The Seagull as well as The Cherry Orchard, to which it could be a sequel. Gorky's folk, lazily holidaying in their summer dachas, might be inhabiting the new development which Lopakhin was to build in place of the cherry trees chopped down at the end of Chekhov's last play.

Yo, I'll tell you what I want, what I really, really want. Er… another nostalgic play about growing up in a Yorkshire post-industrial city?

Hard on the heels of John Godber’s Leeds-set Do I Love You? running last week at Wilton’s and Kat Rose Martin’s marvellous Bradford-set £1 Thursdays at the Finborough (my best new play of 2023), we take a 30-mile trip south to Doncaster (Donny to friends) for Children of the Night. Is it something in the air? Besides the coal dust of course.

The Middle East is on fire – again. So Ryan Craig’s brilliantly provocative play, The Holy Rosenbergs, is more relevant than ever. Near the start, a rabbi says, “Everyone feels strongly about what’s happening out there”, and since he’s referring to tensions between pro-Israel and anti-Israel Jews, he’s definitely touching a nerve, both in the play and in the audience.