Mother of Him was written a decade ago, but its most prescient moment happens in the first five minutes of Max Lindsay's production at the Park Theatre. Brenda Kapowitz (Tracy-Ann Oberman) presents a sheaf of papers to Robert (Simon Hepworth, excellent), a family friend who’s also her 17-year-old son’s lawyer. “Report cards, awards,” she explains.

The only novel by the Hungarian dramatist Ödön von Horváth, Youth Without God was written in exile after he fled Anschluss Vienna and published in 1938, shortly before his death.

The Permanent Way first roared its way into the national consciousness in 2003 when, after a triumphant opening in York, it toured the UK before transferring to the National Theatre.

Canadian playwright Hannah Moscovitch’s “refugee musical” – now there’s a phrase you don’t expect to write – is a treat. Harking back to the early 20th century pogroms of Eastern Europe, it’s darkly steeped in history, conveying the sorrows of leaving behind an old world as well as the slow, painful process of integration into a new one, in this case Canada.

The work isn't finished on Big, if this stage musical of the beloved 1988 Tom Hanks film is ever to, um, make it big. A Broadway flop in 1996 where it was among the last shows directed by the late, much-admired Englishman Mike Ockrent, the material finds a sweetness in its West End incarnation that eluded it Stateside.

Alexander Zeldin continues his devastating analysis of modern Britain in this culminating play of a (very loose) trilogy that started with 2014’s Beyond Caring, followed by LOVE two years after that.

It is a truth perhaps not quite but almost universally accepted that Jane Austen’s Pride and Prejudice, beloved of GSCE English Lit examiners, and often adapted for the screen, is a part of the canon, waiting to be re-interpreted according to the fashions of the day.

An excellent director makes a rare misstep with Amsterdam, in which a compelling if tricksy play is given an arch and mannered production that only distances the audience further.

It’s now Edinburgh Fringe transfer season in London, but here’s one they made earlier: Cora Bissett’s Fringe First-winning autobiographical play from the 2018 Festival about her time in 1990s indie band Darlingheart. Though the broad shape of this tale is familiar, Bissett’s gig-theatre approach lends it a raw authenticity and engaging confessional quality.

New artistic directors are popping up all over British theatre. Every week seems to usher in a refreshingly versatile talent taking the reins of a major theatre.