Coming-of-age comedy, moonlit romance and a gentle folk soul: can this really be Eugene O’Neill? The master of darkness makes a surprising departure with semi-autobiographical 1933 work Ah, Wilderness!, which visits staple tropes – addiction, family strife, responsibility and regret – with a marked lack of rancour. Like its youthful protagonist, world-weary cynicism is a mere pose, abandoned in favour of beguiling, hopeful innocence.

The NHS is us. Early in this new verbatim play about the National Health Service, one of the characters says that when a sample of Britons was recently asked what the most important institution in the UK is, six per cent said the monarchy, 12 per cent said parliament, but a whopping 48 per cent said the NHS. It is central to our national identity, and arguments about its condition are a vital part of the general election campaign – which explains why the Royal Court has programmed this show now.

Owen McCafferty’s new play could have had as its starting point John Updike’s line "Celebrity is a mask that eats into the face”, for it deals with stand-up comedian Steve Johnston, who hungers after success so much that he is prepared to jettison everything that matters to him – girlfriend, integrity, talent – to achieve it. And that description could indeed apply to many so-so comics currently plying their trade who gain financial reward in inverse proportion to their talent (no names, no pack drill).

Playwright Simon Stephens has made a long journey. Starting off as a young in-yer-face writer, then pausing to mellow over slices of life, then winning awards with state-of-the-nation family dramas and teen plays, he has ended up by brilliantly adapting The Curious Incident of the Dog in the Night-Time. And yet. Ever since his Three Kingdoms was staged here in 2012, in his heart has been the desire to be a Continental playwright – and Continental playwrights love to mess with, sorry deconstruct, the classics.

The 150^th anniversary of Lewis Carroll’s seminal novel has inspired a raft of commemorative works, from Damon Albarn and Moira Buffini’s musical Wonder.land to Holland Park opera and Glastonbury’s surrealist haven; Disney’s film sequel arrives next year. Les Enfants Terribles’ contribution takes a literal trip down the rabbit hole, guiding audiences into the depths of Waterloo Vaults.

When does a Gilbert and Sullivan chorus make you laugh, cry and cheer as much as any of the famous set pieces? In this case when Major-General Stanley’s daughters “climbing over rocky mountain” wear pretty white dresses but turn out to be gym-trained showboys from the waist up, with their very own hair. That’s already one extra dimension to an operetta gem, but there’s so much more to enjoy around the crisp delivery of Gilbert’s undimmed lyrics.

Russia isn’t the only country where violations of personal freedoms and censorship seem to be mounting by the day, but it’s surely the most confused: ask any of the persecutors what they hope to achieve, and you won’t get a convincing answer.

Vaudeville is alive and well in the silvered Lilliputian cave which might have been made for it (not that Victorian Savoyards could have had any inkling). If you find yourself, like last night’s showbiz audience, beguiled to cheering point by the shreds-and-patches routines put together by the ultimate theatrical whirlwind, Mamma Rose, that’s because everything in this London transfer from the Chichester Festival Theatre, parody included, is solid gold. Heck, I’d even have paid to hear the first trumpet in the fabulous wind-and-brass orchestra tune up.

You might think you know what you’re in for with a play by Anders Lustgarten, winner of the inaugural Harold Pinter Playwright’s Award and current go-to political activist for the Royal Court and the National. Listed alongside the plays on his CV is the boast that he’s been “arrested in four continents”.

Andrew Hilton’s immensely enjoyable Shakespeare at the Tobacco Factory production of the Sheridan classic opens with a display of hilarious brio from Byron Mondahl, who steps into the intimate arena of this South Bristol venue, only half in character as he has yet to don his powdered wig, to deliver a quick fire introduction on the joys of gossip. He is wearing salmon pink brocade and breeches and suddenly whips out a red mobile to catch up with the latest tweets, shooting a selfie of himself in front of the audience.