Okay, so this is the play that will be remembered for the character names that have unusual spellings. As in Alys not Alice, Kyte not Kite, etc. Anyway, Lucinda Coxon's adaptation of journalist Harriet Lane's 2012 bestseller for the Bridge Theatre starts off with Frances (Downton Abbey's Joanne Froggatt) coming across a fatal car crash in which Alys, a woman she doesn't know, is killed.

Dear Clean Break, Thank you very much for your latest, called Inside Bitch, a show which is billed as "a playfully subversive take on the representation of women in prison". It's a great celebration of your 40th anniversary. I saw this at the Royal Court tonight and I will remember it because the cast were clearly having great fun, and so was the audience. And I could see why.

We're Staying Right Here, Henry Devas's debut play premiering on the smaller of the Park Theatre's two stages, carries a trigger warning on the theatre website: "May be affective for people coping with mental health issues". There's also, we're told, "very strong language, simulated violence, flashing lights, and vaping".

Well, you have to give it to French playwright Florian Zeller — he's certainly cracked the problem of coming up with a name for each of his plays. Basically, choose a common noun and put the definite article in front of it. His latest, The Son, is the last in a trilogy which includes The Father and The Mother.

Whenever I hear the word "cosmopolitan" I think of Europe in the 1920s: German Expressionism, Russian Constructivism, Czech eccentricity, Swiss DaDa, Italian Futurism and French Surrealism. With music from Weimar cabaret and visuals by Soviet agit-prop. Let's take an imaginary train journey from Paris to Berlin to Zurich to Prague to Milan. This is the world evoked by The Animals and Children Took to the Streets.

This is a golden age of London Sondheim revivals, with Marianne Elliott’s thrilling Company still playing in the West End, and Dominic Cooke’s Follies getting a hugely welcome second run at the National – both testament to a director’s transformative vision.

"It's gonna be the best golf course in the world," a man in an Aertex shirt and a bright red baseball cap is assuring us. "The best. I guarantee it." You can tell he's the kind of person who thinks talking quickly and loudly is the same thing as being right.

There is no doubt that Peter Shaffer's Equus is a modern classic. But does that justify reviving this 1973 hit play in our current social circumstances? And what can it say to us today? The good news is that up-and-coming director Ned Bennett is at the helm of this version, and that he brings not only his individual vision to the piece, but also plenty of guts and balls and feeling: this is much more than a simple retread of John Dexter's legendary original, with its platform-hooved man-horses and starry casts here and in New York (Alec McCowen, Anthony Hopkins and Tom Hulce).

An entirely electric leading performance from the fast-rising Ukweli Roach is the reason for being for revisiting Jesus Hopped the 'A' Train, back in London for the first major production since the late Philip Seymour Hoffman brought his acclaimed Off Broadway premiere of it to the Donmar in 2002. Since then, author Stephen Adly Guirgis has to be honest written better plays, not least the thrilling The Motherf**er with the Hat which doesn't try so hard to flag its bravura at every turn.

Here's a recipe for a successful National Theatre production: take a well-loved classical comedy, employ an outstanding young director and a talented writer (so much the better if they have a proven track record together) and cast gold-standard actors, including, if possible, someone with a screen presence. What could possibly go wrong? Well, unfortunately, just such a promising mix fails to gel in Tartuffe.