It is not just Twelfth Night, it’s Twelfth Night, or What You Will in The Folio, a signpost of the choices the inhabitants, old and new, of Illyria must make. Perhaps it’s also an allusion to Will’s own choices as an actor/playwright in the all-male company who cross-dressed (and maybe more) as women and girls without batting an eyelid. As is so often the case with the comedies, the great entertainer doesn’t hesitate to smuggle in a soupçon of transgressive psychology under cover of farce.

Hermia is a headbutting punk with a tartan fetish, Oberon looks like Adam Ant and Lysander appears to have stumbled out of a Madness video. Yet Eleanor Rhode’s exuberant A Midsummer Night’s Dream – which has transferred from a triumphant run at Stratford-Upon-Avon – is no straightforward Eighties tribute, but a psychedelic mashup that’s as ravishing as it’s gritty.

Hanif Kureishi’s 1990 novel The Buddha of Suburbia begins like this: “My name is Karim Amir, and I am an Englishman born and bred, almost”. Almost. Yes, that's good. We are in 1970s south-east London, and this immediately introduces, despite its tentative tone, the protagonist as a young man trying to define his identity.

The RSC apparently has a hit on its hands with its West End transfer of Hamnet. Box office demand has already prompted an extension of the run by six weeks, until February 2024.

Life is full of coincidences and contradictions. As I was walking to the Royal Shakespeare Theatre, the Chancellor of the Exchequer was on his feet in the House of Commons delivering yet another rebalancing of individual and collective resources. On reading a couple of fine essays in the excellent programme, I saw the acknowledgement of the production’s sponsor, Pragnell.

“The bands came in 1933.” So begins C P Taylor’s Good, a play that tries its hardest to resist being Googled.

The energy of Antony Sher, who has died at the age of 72, was prodigious. He not only acted like a fizzing firecracker. He wrote books about his most celebrated roles, and several novels set in his native South Africa. He also wrote plays, and he painted. It was as if the stage could not contain him.

“Am I myself?” At the tangled centre of Shakespeare’s comedy of two pairs of identical twins, servant Dromio asks the question on which everything else hangs. The delivery is exasperated, the context bantering, but the words are the flimsy door onto an existential void this early play constantly threatens to tumble into.

How can we know ourselves if others do not? Is it enough to be ourselves, or must we also enact and perform those roles? What if society casts us in another?

Trigger warnings have become commonplace in theatres these days, but few chill the blood like the description "a new musical" on a playbill. There are so many things to go wrong, so few ways to get things right and, never far away, the dissenters who caught ten minutes of the Sound of Music during its annual Christmas TV airing and won’t stop telling you exactly how they feel about musicals.

The cherry orchard in Anton Chekhov’s eponymous play is a classic MacGuffin, its existence a reason to stir the sorts of resentments, fancies and identity causes that start wars and revolutions. The orchard’s beautiful, and that’s all – a cultivated but natural ornament upon the great land of Russia, where need and want hold sway over millions of wretched and enslaved people.