With acrobatics at this level, they make it all look so easy, it’s possible for an audience to become complacent.

Plays about the theatre are many and varied, from Gypsy and Noises Off to the numerous Shakespeare works that absorb theatrical performance into their very fabric.

Reggae hits are already playing over the speaker system at the Bush when the audience enters, some jigging to the sounds as they find their seats. The set before us is a living room with a bright orange carpet, a squidgy tan faux leather armchair and a cocktail trolley.

Sometimes I go outside and look at our kitchen drain. Where there should be a vortex there’s a largely static pool. Tree roots have recently grown through the old pipes, their clumps colonised with fat, dog hair and coleslaw bits, and though a bit of handpumping will shift some of the stale water for a while, it really needs systemic attention from Dyno-rod. A good Dyno-rodding is what Chichester’s new production of Noel Coward’s The Vortex needs too.

Just when you’ve relaxed a little, privilege duly checked and confident that you won’t be guilt-tripped for nipping into that disabled loo a few years ago at the National (c’mon, the interval was nearly over and needs must), FlawBored drop a bomb into the narrative. The temperature in the room plummets, a real coup de théâtre is effected and I'm still processing it.

There was a jolting eco-themed work onstage in London recently, but sadly A Play for the Living in a Time of Extinction, a Headlong company collaboration with director Katie Mitchell and a number of international producing houses, wasn’t it. 

It’s apt that this new play, with characters moving in and out of Paris either side of World War I, is staged at this intimate theatre, one that always has the ambience of a below-ground oubliette. These bohemians are not penniless and cold as were Puccini’s, but they still wrestle with the bittersweet complexities of a love that burns too brightly, one that fuels a ménage à trois that does not end well.

Men are bastards. Okay, not all of us, but enough to make the lives of millions of women a misery. This we know, but anyone who has any doubts might be educated by some of the horrific statistics of sexual assault and domestic violence in the programme of Deborah Bruce’s Dixon and Daughters, a new play at the Dorfman space of the National Theatre.

The cast of The Secret Life of Bees first parade onto the Almeida stage hefting big glass storage jars full of a golden substance: honey. The jars glow as if they are beacons, lights that guide. Which they turn out to be.

It's saying a lot when a production lives up to its gasp-inducing set. That's the happy case with Josie Rourke's loving revival of Dancing at Lughnasa, which returns Brian Friel's modern-day classic to the building, the National, where this Olivier and Tony Award-winner first played London over 32 years ago.