You can’t keep a great playwright down. Ron Hutchinson, whose award winning stage plays, such as Rat in the Skull (1984) and Moonlight and Magnolias (2005), are contemporary classics, has been absent from view for a while. But although he has fallen off my radar in recent years, perhaps it is because, as the title of his book on writing for a living says, he’s been “Clinging to the Iceberg”.

Do you happily binge four hours of mind-candy TV in one sitting? Alecky Blythe’s latest verbatim play, Our Generation – which runs for 3hr 45min at the Dorfman space of the National Theatre – might take almost as long but will probably be much more rewarding.

The Merchant of Venice is a comedy, you say? Shakespeare, as ever, refuses to be confined to convenient boxes, his best plays’ extraordinary pliability and longevity a testament to the piercing eye he cast towards the slings and arrows that assail humankind.

Love is the most difficult four-letter word. And platonic love is perhaps the hardest kind of emotion to write well about. But it’s the central subject of Amanda Wilkin’s Shedding a Skin, and she describes it beautifully.

"Get into the scene late and get out early." So wrote David Mamet in his 1992 book On Directing Film, and Southwark Playhouse, among London's most charmingly eclectic theatres, has delved very early into Mamet's canon, reviving his 1977 play The Woods – a two-hander not seen in London since 1996.

With its violent storms, bombed out cities and stories of families ripped apart by war, Small Island feels very much like a play for our times. From its stunning opening, in which the frantic silhouettes of humans are interwoven with black-and-white footage of hurricane-swept palm trees, it whirls us into an epic tale of fractured dreams, fraught beginnings and a constant search for humanity amid hatred.

Mark was teased about the fallout shelter at the bottom of his garden by his co-workers (that wasn’t the only thing – every friendship group has a target for micro-aggressions) but his foresight pays off when terrorists explode a suitcase bomb on a Friday evening. Louise, hungover after her leaving do, wakes up down there, Mark having rescued her from the rubble and sealed the door against the radiation. She faces 14 days locked down with him waiting for the air to clear.

Sharp suits swapped for combat fatigues, a people’s commander: you’d think that Max Webster’s production of Shakespeare's  surprisingly nuanced propaganda history-play would have special resonance in a week which has seen horrors and heroism unleashed in equal measure. Yet despite input from former Royal Marines Commando Tom Leigh, this is too much of a gimmicky show of war to chime with what’s churning us up now.

We open on “Seventeen is Swell”, the antithesis of Janis Ian’s 70s angsty anthem, “At Seventeen”. Megan is living it large as the cheerleader’s leader with her football captain boyfriend, two loving if strict parents and a golden future of all-American domestic bliss ahead. In short, she has all her pom poms in a row.

Few critics become playwrights, but Tim Walker has done just that with Bloody Difficult Women, his debut. It's taking a risk; should any of his less generous critical colleagues wish to take a shot at the poacher turned gamekeeper, it's open season. On the other hand, it could place a friendly critic in an uncomfortable position; what if it's awful?