Thirty years on, Alex and Jason meet at a university reunion and cab it back to Jason’s old student house where Alex is thinking “probably…” and Jason is thinking “probably not…”  - each, it turns out, with good reason. We look on as the clumsy fumblings of youth get replaced with the anxious fumblings of middle age, two temporal spaces coming together in one room. 

Just when you thought you couldn’t take any more one- or two-handers, online or in the theatre, along comes the supreme masterpiece to jolt you out of any fatigue. Every line counts as Winnie, buried up to her waist and then up to her neck, determines that words will never fail her. And what poetry there is in even the most banal observation, the endless repetition.

Limbo, in Jack Thorne’s latest play, is a room lined ceiling-high with drawers, a sort of morgue rebooted as a vast filing system. It apparently provides comfy accommodation for the souls waiting to pass over, and its activities are run in tight bureaucratic fashion by Five (Kevin McMonagle), a crisp but likeable Scot with a nice line in candour and a squeezebox on which he plays Gershwin melodies.

This blistering, fearless play about an 18-year-old black entrepreneur on the King’s Road raises a myriad of uncomfortable questions that resonate profoundly with the Black Lives Matter debate.

For 75 captivating minutes, Ralph Fiennes digs deep into TS Eliot’s Four Quartets, the poet’s interlinked reflections on time, faith and the quest for spiritual enlightenment – in what is the first solo adaptation of Eliot’s work for the stage, a co-production between Theatre Royal Bath and the Royal & Derngate, Northampton.

There’s something definitely inspiring about producer Sonia Friedman’s decision to reopen one of her prime West End venues with a season, called RE:EMERGE, of three new plays. The first drama is American playwright Amy Berryman’s ambitious debut, Walden, and this will be followed later in June by Yasmin Joseph’s J’Ouvert and then in July by Joseph Charlton’s Anna X.

A little less than two years after Sean Holmes’s kick-ass Latin American carnival-style A Midsummer Night’s Dream erupted at the side of the Thames, it has returned to a very different world. It’s no longer a natural expression of the kind of exuberance we take for granted, but a reminder of what we might be again – a blast of colour from our post-vaccine future.

After months of watching theatre on screens large, medium and tiny, I definitely feel great about going to see a live show again. Of course, it’s not the usual theatre experience, you know, the one with crowds milling around the bar, people breathing down your neck and elbowing you while you’re watching, but at least it’s three-dimensional.

There is a promising production struggling to get out of this muddled concept. Creation Theatre (here partnered with Watford Palace) is well known for innovative, site-specific pieces, one of which –The Tempest – was adapted for the screen, including interactive elements, last year. I missed this, but reviews suggest it worked well.

It wasn’t Jane Austen’s subtlest move, naming her roguish soldier George Wickham. As countless GCSE English teachers have patiently read in generations of essays, his surname sounds a lot like "wicked" – and wicked he is.