Macbeth has rarely seemed quite as metrosexual as in this gorgeous shadow-painted production that marks Globe artistic director Michelle Terry’s first production in the Sam Wanamaker theatre.

The road to full musical theatre production has been a long one for Hadestown. It began back in 2006, with Anaïs Mitchell’s song cycle – a folk/jazz take on the Orpheus and Eurydice myth – toured around Vermont in a school bus, then grew into an ecstatically received concept album in 2010, and has gone through further development with director Rachel Chavkin in Off-Broadway and Canadian stagings.

The West End is specialising in two-parters of late. To Imperium and The Inheritance we can add the latest duo of Harold Pinter one-acts that has opened in time to spread ripples of delight even as the nights draw in. "Delight", you may well ask – from this of all sombre and murky dramatists?

War Horse at the National Theatre on Sunday’s Armistice Day centenary: there were medalled veterans and at least one priest in the rows in front, dark suits and poppies all around, and scarcely a youngster in sight. When the bells rang out in a closing scene, the tolling was extended, and the veterans in the audience stood.

What to make of The Simon & Garfunkel Story, which began a week-long residency at London’s Vaudeville Theatre last night and which tours in the new year? A success “from Sydney to Seattle” apparently, with Elaine Paige having called it “amazing” and various regional newspapers offering superlatives.

Dramatic Exchanges is a dazzling array of correspondence, stretching over more than a century, between National Theatre people.

Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now has a much stronger cultural presence than at the start of the decade. It seems to be a great time to be a female playwright, and Ifeyinwa Frederick's irreverently noisy, and often hilarious, debut play is proof that there is a lot of upcoming new talent waiting to make its mark.

Don Quixote and his paunchy sidekick long ago escaped the pages of Miguel de Cervantes' novel. The image of the sad-faced knight on his bony nag Rocinante with his companion Sancho Panza atop his donkey are familiar in film, opera, paintings and everything from kitchen tiles to cartoons and furnishing fabric. The knight himself foretold their afterlife, predicting that his exploits would be memorialised in paintings and sculpture. These two - who never existed - may be the most recognisable Spaniards of all time.

It’s clear from the start – from a Prologue that quickly dissolves familiar rhythms and words into a Babel of clamour and sound. This RSC Romeo and Juliet, newly transferred to the Barbican, isn’t much interested in what is said.

You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith's classic White Teeth as part of the Kiln's opening season. The bestselling 2000 debut novel is set in Willesden, Kilburn and thereabouts so it's a good fit for what is essentially a play that pays tribute to the area's multicultural character.