It’s fitting that there’s another run of Dave Simpson’s terrific play about Brighton’s favourite son, Max Miller (aka The Cheeky Chappie), at this delightful pop-up on the seafront he knew and loved so well.

Monologues and duets rule the stage right now. We can only dream of the day when theatre steps up to the classical music scene’s boldness and manages to have more performers gathered together, albeit suitably distanced (not so easy when the drama needs physical contact, though there are plenty of plays that don’t). That said, it would be hard to imagine a more impressive roster of performers than the magnificent Bridge Theatre has managed to summon for its one-person season.

For some of us, it doesn’t take a lockdown to imprison us in our own hellish little world. Since his first series of dramatic monologues, broadcast on the BBC in 1988, Alan Bennett has taken a scalpel to the mindsets of those who have battled life’s disappointments and disillusionments by creating their own, often equally destructive, realities. 

Solo plays and performances are, of necessity, the theatrical currency of the moment, whether across an entire season at the Bridge Theatre or last week at the Old Vic in the too briefly glimpsed Three Kings, starring a rarely-better Andrew Scott.

A woman sits on a bench. She’s got a song stuck in her head – she can’t remember how one of the lines ends, so it keeps going round and round. It mingles with birdsong, idle musings on whether birds look down on us (figuratively as well as literally), and worries about the strange pain in her chest. The woman’s name is Sarah (Laura White), and she’s not speaking out loud. Luckily, all of us audience members can hear what she’s thinking.

The world premiere of Stephen Beresford’s new hourlong play, livestreamed to home audiences in four performances as part of the Old Vic’s In Camera series, was postponed a couple of times due to Andrew Scott undergoing minor surgery. Thankfully, the actor has fully recovered, and his performance of this affecting piece was certainly worth the wait.

Originally due to premiere back in March, Sleepless – a musical version of the winning 1993 movie Sleepless in Seattle – now acts as a test case for the return of fully staged but socially distanced indoor theatre, AKA Stage 4 of the Government’s “roadmap”.

On a normal bank holiday weekend there would be festival events held in the grounds of Glastonbury Abbey. But in this anything-but-normal year, choreographer and director Andrew Wright instead gathered together a group of people who live in or who have an association with Somerset to donate their talents for free to put on a musical fundraiser. 

For a riveting, cathartic – and often surprisingly humorous – 50 minutes Ralph Fiennes paces the stage at the Bridge Theatre to deliver an account of Covid-19 that is as political as it is personal.

In normal times, Edinburgh Festival audiences would now be packing into the city’s invaluable Traverse Theatre, home to some of the most vibrant new writing in the country.