Fresh from the success of Harry Potter and the Cursed Child, Jack Thorne now gives us his exuberant adaptation of another much-loved text. Charles Dickens’ novella A Christmas Carol is the well-worn morality fable seared into our collective memory by countless screen versions and stage musicals.

You say you want a revolution? Good luck locating one amid the tonally muddled Inside Pussy Riot. The immersive production from Les Enfants Terribles takes audiences on a promenade-style journey through the terrifyingly true story of Nadya Tolokonnikova, the Russian activist who (along with bandmate Maria Alyokhina) was sentenced to two years in a Siberian prison in 2012 after performing 40 seconds of an anti-Putin protest song in a Moscow church.

The Globe’s Sam Wanamaker Playhouse may be a historical recreation, but the same shouldn’t be true of the plays staged within it. Since it opened in 2014, this atmospheric space has spawned a whole sub-genre of historical new-writing – works that have too often been respectfully inert, struggling to find a contemporary voice among so much authenticity.

Everybody’s been talking about Everybody’s Talking About Jamie since its Sheffield Crucible debut earlier this year. It’s unusual to see a musical come steaming into the West End based on word on mouth – not star casting, or association with an existing franchise.

War is morally acidic: it dissolves social rules, loosens inhibitions and gives permission to men to behave like animals. And the people who have to put up with this deluge of amorality and abuse are, of course, women.

During the 19^th century, Tiger Bay in Cardiff was the beating heart of the Industrial Revolution and the most multicultural area in Britain. Visit today and the only signs remaining are the odd gothic buildings that sit between Doctor Who exhibitions and Nandos. The Wales Millennium Centre looks to remind Wales of its history with the debut of an original production, appropriately titled Tiger Bay.

Outrage knows no time barrier, as the world at large reminds us on a daily basis. So what better moment for the National Theatre to fashion for the internet age a stage adaptation of Network, the much-laureled 1976 celluloid satire about lunacy and, yes, anger in the televisual age.

Should Brexit ministers need help understanding the cultural mindset of their continental counterparts, they might consider a subscription to the Orange Tree, the compact Richmond producing house that is defiantly opening its arms to Europe.

American classics dominate the straight plays in London’s West End. Whenever a producer wants to revive a straight drama, they will inevitably look first at the back catalogue of Tennessee Williams or Arthur Miller or, in this case, David Mamet.

One of the questions that can be asked of Brecht is whether for a modern audience his Verfremdungseffekt — or alienation effect — still works as intended, provoking genuine reflections on justice by distancing audiences from emotional entanglement with the characters. At a time when verbatim and community theatre is accomplishing just that with exactitude and force, it appears that inducing audiences to think morally is most effective when delivered in unexpected ways.