Question: is Consent, transferred from the National to the West End, a sharp-tongued comedy or an acute reinvention of a revenge drama? There are more than enough smartly placed laughs throughout the tart, increasingly taut first act, to make you think you’re watching an amusingly balanced, if increasingly vicious, exposé of the divide between the private and professional lives of lawyers.

I’ve forgotten my wallet.

This exuberant production both clarifies and further complicates the conundrum of Peter Pan. In any production true to Barrie there is an underpinning of sadness, an acknowledgement of the losses we must all suffer: children leave home and adult responsibility takes the place of childhood innocence.

Add Catalan writer Jordi Galcerán to the shortlist of European playwrights who are finding an international perch, in this case with a tricksy four-character play that has had more than 200 productions in over 60 countries.

Calixto Bieito has a reputation as a radical theatre-maker, and by any standards The String Quartet’s Guide to Sex and Anxiety is an unusual, genre-breaking piece; Bieito has described it as “like a symphonic poem for a quartet of musicians, and a quartet of voices”.

There’s a distinct feeling of back to basics to this opening double bill at the Globe under the theatre’s new Artistic Director Michelle Terry. The elaborations (some would say gimmickry) of Emma Rice’s short tenure have been reined back, and a new concentration prevails.

The show’s subtitle – “Songs banned by the Nazis” – is a catchy one, and somewhere under the confetti, the stilettos, the extravagant nudity, the sequins and even shinier repartee that are wrapped around Effigies of Wickedness like a mink coat on the shoulders of an SS officer’s mistress is the bruised and grubby story of one of history’s foulest episodes.

Towards the end of the Maly Drama Theatre of St Petersburg's Life and Fate, a long scene in director Lev Dodin's daring if necessarily selective adaptation of Vasily Grossman's epic novel brings many of the actors together after a sequence of painful monologues and one-to-ones.

The band’s back together. Alfred Molina plays Rothko for the third time in Michael Grandage’s revisiting of John Logan’s richly textured two-hander, first seen at the Donmar in 2009 and then bypassing the West End for Broadway.

Five years ago, when New York playwright Rajiv Joseph started on his fantasy disquisition on truth, lies and the recent history of Russia, no one was talking about a new Cold War and trump was still a thing you did in a game of cards. Now, at the British premiere of Describe the Night, a wall in the foyer is beaming an image of Vladimir Putin and a pronouncement he made earlier that day.