There’s a certainty, a reassurance that comes with attending a Globe show. You know that however bad things get, however bloodied the stage at final curtain, however bruised the relationships on stage, everyone – corpses and all – will rise and come together for a spirited closing jig. Julius Caesar and Cassius have done it, the tragic Duchess of Malfi has returned to life for a final Pavane, and even Lear and his daughters have joined hands in the dance.

As we stagger towards electoral chaos, isn’t it comforting to think there might be a master plan at work? That Russell Brand’s meddling is preordained, or Cameron’s "brain fade" an act of divine intervention?

Tamasha is a new writing theatre company which specialises in plays — often adaptations or reimaginings of classics — written from an Asian perspective. As the company celebrates its 25th anniversary, it is touring this, the latest play by Emteaz Hussain, who worked with them on her debut, Sweet Cider, in 2008. Blood is a co-production with the Belgrade Theatre, Coventry, where the play opened in March. It’s a beautifully imagined bitter-sweet love story told by just two actors.

Agitprop is a term that seems to have dropped out of use. It has too many negative connotations; it smacks of political rant. Yet artistic director Neil McPherson, whose small and feisty Finborough Theatre at Earls Court receives no public funding whatsoever, has never pandered to delicate West London sensibilities, and I Wish to Die Singing: Voices from the Armenian Genocide, scripted by him, certainly doesn’t flinch from its task. This is, no less, to fill a gaping hole in the official history of the 20th century. Propaganda? You decide.

God love Christine Baranski: Eight years after the Tony and Emmy-winning actress played the supporting role of Carlotta Campion in a semi-staged 2007 production of Stephen Sondheim's Follies in New York, along came the leggy, eternally lithe performer in the same musical, once again in concert form but this time upgraded to a starring role.

From the great, gasp-inducing rush of colour when the curtain opens on American Buffalo to the embrace that closes it, this revival of David Mamet’s career-making rummage through the junkyard of the American Dream has you in a vice-like grip. It’s been eagerly anticipated, and doesn’t disappoint.

Judge Judy meets The Only Way Is Essex: this endlessly resourceful production of Gilbert and Sullivan’s first (mini) masterpiece Trial by Jury is one that cries out to appear on TV. Which in a make-believe sense it does: we’re the audience in the studio where Court on Camera is about to air. A warm-up chappie who turns out to be the Usher (Wagnerian bass-baritone in training Martin Lamb) – on other Sundays it will be a lady – gauges our capacity to applaud and boo, and we’re off on a case of breach of promise of marriage as you never saw it before.

You’re already in the land of the unpredictable with Pina Bausch. Creating unease was her métier. But when she pulls a gag intended to convince you that something has gone badly wrong on stage, and then it really does, the discombobulation is profound.

The trouble with the general election is that while everybody talks about money, nobody talks about ideas. We know the price of everything, but the value of nothing. This might seem to be a triumphant demonstration of the essential pragmatism of the nation, yet there was a time in English history when ideas mattered. And when they were passionately discussed, and bitterly fought over. I’m referring to the English Civil War of the 1640s, and its aftermath when king Charles I was beheaded, an era explored by Caryl Churchill in her 1976 docudrama.

“Fury Over Sharia Law For Toddlers!” No, not a prime example of spoof headline generator Daily Mail-o-matic, but the latest piece of fantastical scaremongering from the Clarion, a 125-year-old (semi-)fictional rag that’s upped sales by splashing on immigration every day for a year.