Love and loneliness, broken homes and broken hearts, child abuse and communities clinging on through war... This adaptation of Michelle Magorian's children's book treats the darkest and most difficult of themes with a firm but tender touch, breathing life into the friendship at the heart of her World War Two story. Oliver Ford Davies leads the cast as Tom Oakley, the elderly recluse looking after an evacuee, with a calm confidence. He exudes an almost palpable warmth.

Given the present Middle East uproar, perhaps we shouldn’t be surprised that contemporary versions of The 1001 Arabian Nights are sprouting everywhere. With their variety of stories and roots in countries undergoing such political upheaval, they offer rich and important pickings.

You don't see much of Arthur Wing Pinero's considerable output these days. Although he was largely contemporaneous with Oscar Wilde, George Bernard Shaw and Gilbert and Sullivan, whose works have stayed the course, his plays have not, with just a few exceptions. But in that weird way these things sometimes happen, it seems Pinero is undergoing something of a resurgence (in London at least), as a production of The Second Mrs Tanqueray has just finished at the Rose Theatre in Kingston and the Donmar Warehouse is to stage Trelawny of the Wells early next year.

An expert cast delivers on their promise in Aleksei Arbuzov's triangular Russian drama from 1965 of the same name, which offers up war and peace and the shifting tides of love. There's so much of the last, in fact, that Alex Sims's production at times plays out like Design For Living set against a soundscape of shelling and the occasional nod to Hitler and Stalin.

Those of us growing up in the heady days of 1960s Liverpool knew that four local lads were taking the world by storm. Some really grown-up people might even have been to The Cavern and seen the phenomenon in their early days. And yet there was always an enigma in the background: the figure who made it happen but about whom we knew almost nothing.

Something new is happening in the West End. Just up the road from Thriller and down a bit from Les Misérables a billboard the colour of weak tea (positively consumptive compared to the full-colour, neon assaults on either side) proclaims the arrival of Richard III and Twelfth Night. Shakespeare is back on Shaftesbury Avenue, and this time he means business – big, commercial business. How has this sleight of hand been achieved?

1866 was a crucial watershed in Henrik Ibsen’s writing career. As a man he may have come of age some 20 years earlier, but it was only at almost 40 that his writing attained brooding, bearded maturity in Brand, the first in the sequence of plays that we now accept as the Ibsen canon.

Nick Payne has already made quite a mark. In 2009 he won the George Devine award for Most Promising Playwright with the intriguingly entitled If There Is I Haven’t Found it Yet at the Bush. Wanderlust followed at the Royal Court and now with his second Court commission, transferred to the Duke of York's from Upstairs at the Royal Court, he’s come up with bees and multi-universe theories, love and death.

There’s no attempt to romanticise the hero of Nick Dear’s new play about the Anglo-Welsh poet Edward Thomas. Thomas, who died in action in the Battle of Arras in 1917 after enlisting at the age of 39 – far too old to have had to fight – is played by Pip Carter as prickly, petulant and with an alarmingly misogynistic streak. He tramples over the feelings of his adoring wife Helen and displays an unattractive physical cowardice when ambushed by an angry gamekeeper on one of his long country rambles. 

Science thrives on stage. In play after play, various scientific ideas seem to flourish in the warm, well-lit environment of the theatre, fed by a crew of artists and despite the threats of critics or other predators. Now, Lucy Prebble — fresh from her outstanding success with Enron — turns her attention to the subject of love and neurology in her latest play, which opened last night. Directed by Enron maestro Rupert Goold, the play stars Billie Piper so it’s already sold out, but is it any good?