Plays such as Michael Frayn's Copenhagen, my Oppenheimer or Complicité's A Disappearing Number are not truth - they are not documentary. What they do is introduce a scientific figure or a scientific idea, tether it to the structures of story and drama, and introduce an otherwise unknown aspect of history to a new audience.
There is a delicious darkness to Roald Dahl's original book about a vile and dirty couple who are rotten to the core. You relish their horrid plots and laugh at their wickedness. I desperately wanted this adaptation to capture that spirit but the result is not good, patchy at best.
I recently went to see "Beautiful", the Carole King bio-musical that follows her rise from Brooklyn bobby soxer to Brill Building hit machine. Does it get any better...a night of songs that feel like old friends?
Going to see The Lion King on stage was a real treat. For a few hours you can forget the worries of your child whooping, calling out and assisted toilet visits because everything here is normal behaviour.
Set in 17th century India, Dara tells the story of two Royal brothers - Aurangzeb (Sargon Yelda) and Dara (Zubin Varla) - who are pitted against each other in a battle for succession. In a poignant reminder of how little has changed in 400 years, Puritanism competes with opulence, regression with enlightenment, and dogma with humanism.
One of many impressive feats of the production is its extensive wardrobe, with each characters costumes, wigs and makeup being as intricate as the next. From the Sugar Plum Fairy to Lord Farquaad's knights, each costume is perfectly designed for the role.
Justin Butcher's Devil's Passion is a welcome antidote to the dull and done to death, a light sandblasting for jaded souls. It's also a timely piece, casting Jesus in the role of extremist preacher, whose dangerous ideas have the potential to cause untold instability in the Middle East and here at home
Oppenheimer is a powerful, intelligent, huge scope of a play that examines J. Robert Oppenheimer, the man at the centre of the Manhattan Project, and the professional and personal cost he paid to create the atomic bomb.
I have been really struck by the child-like quality of the writing. I remember Ingmar Bergman saying about Strindberg that the key to the plays is their rage. I think this is true. But I also think there is something very fragile in there; an aching vulnerability.
The threat of nuclear annihilation seemed an ever present theme in the culture I absorbed growing up - it was there in the origin stories of the Daleks and the Incredible Hulk, it was there in Raymond Briggs' When the Wind Blows, it was there in Threads.
But what has been remarkable about the BAC fire is not the extent of the damage, or the disruption to performances, or the loss of a space for South London communities. What is remarkable is the opposite: the spontaneous outpouring of love, compassion and support for BAC, the heartfelt warmth and goodwill that confirms the special place of this special organisation.
In London the BAME community account for over 42% of the population, so why aren't the actors taking centre stage reflective of that? If the white able-bodied voice is what fronts the majority of the theatre we experience, we are destined to only ever see life from that perspective and no other.
The other night I went and watched the theatre group I belong to rehearse for their forthcoming production of Fawlty Towers. I haven't acted since autumn 2013 and although it's not unusual for me to have a break from theatre for a while, this is probably the longest I've been gone from it.
If theatre is going to thrive then it must take risks. And the Almeida Theatre takes a risk with Game, a thrilling - and chilling - examination of the tipping point of our humanity that doesn't just excite and disturb, but also transforms the experience of theatre itself.
An actor's agent does not step into the spotlight; he or she is a figure in the shadows, buoying and navigating many dazzling careers. But what does shedding light on the figure of the agent tell us about films and film stars?
If the worlds we choose to conjure there don't have women in them (and in particular those who don't happen to be white, size 8, under 35, or able-bodied) isn't it a disappointingly skewed and now long out of date depiction of humanity we are reflecting?