The title of the play gives it away. Blurred Lines at The Shed is a sharp, punchy look at gender politics in Britain today. It's a bright, exciting production that combines spoken word and music, but its claim to "dissect what it means to be a woman today" is highly questionable.
The Reduced Shakespeare Company was scheduled to perform their production of The Bible: The Complete Word of God (Abridged) twice this month at The Mill Theatre in Newtownabbey, just outside Belfast. A week before it was scheduled, the local council 'persuaded' the artistic board to cancel the performances.
Not all theatre can be challenging and innovative. Certainly Rapture, Blister, Burn - a play about gender politics - is neither of these but there is plenty to enjoy in this charming comedy.
This production of The Weir is so warm and intimate, it makes you feel as if you've just pulled up a bar stool in a rural Irish pub for the evening.
I don't think you could ever witness a better version of Henrik Ibsen's Ghosts than this Richard Eyre-helmed production at the Trafalgar Studios. Genuinely moving but never melodramatic or overwrought, this story of a family trying to escape the ghosts of their past is an exceptional piece of theatre that will resonate long after the curtain falls.
So here I am, on the great man's birthday, on an incredibly mild January night at the Jermyn Street Theatre, sitting next to a young actress, recently graduated from drama school (and I didn't even have to slip the box office lady any notes), and I in my late thirties, feeling all Trigorin with my projected gravestone reading: "not as good as Michael Billington."
Enter stage left Gina, a playwright whose brainchild Rapture, Blister, Burn previewed this week at the Hampstead Theatre, and, under the umbrella of the 'can women have it all' debate, simultaneously discussed housewifery, porn, casual sex, families, feminism, marriage, careers, submission, and everything in between.
Liam Williams is the most soulful, daring, intellectually unabashed young comedian in the country. His Foster's-nominated debut hour, which plays at the Soho Theatre this week, is comedy-as-poetry, his very own 'Love Song of J. Alfred Prufrock', a mock-heroic bildungsroman of a set splashed with haggard beauty, Yorkshire melancholy and wanking-at-ten-past-three candour...
The Royal Court starts 2014 with a very daring Samuel Beckett one-woman show. Whether this risk pays off is questionable but the boldness of the decision is admirable.
With his latest offering, Brown has veered slightly away from the sermonic qualities of Soul for Sale but the humour hasn't suffered for it. He's ever so slightly mellowed but this show still provides the caustic and learned humour that has become his hallmark.
As soon as a show opens - the first preview night, not press night - you can read all about it on Twitter and Facebook. Yet press review conventions have remained. Tweet about it all you want but news outlets are requested to review only from press night onwards.
Tempest shuffles onto the stage with a kind of affable apprehension and informally introduces us all to the show, keen to emphasise that the typical barriers between performer and audience don't apply here
My friend asked me if I would write this as a review, but I wanted it to be more so about my experience of the theatre. But I may as well say here that this play was one of the most incredible performances I have ever seen.
We've all got resolutions for 2014, some of them we might even keep beyond January. But if you are looking for something new this coming year, how about attending salons? Building on an illustrious heritage, the modern salons are cultural showcases that cover a range of subjects from the worlds of science, the arts and psychology.
Yes, it is an odd subject for a musical. And no, this is not the Phantom of the Opera - or Evita, for that matter. But Lloyd Webber's new musical is highly entertaining - perhaps the ultimate London guilty pleasure.
I am very hopeful that the run of Curious Incident will resume as soon as possible, as the show offers a meaningful depiction of autism and the impact of the condition on families around the world, as explored through the mind of a young boy - Christopher Boone (Jack Loxton, who gives an arresting performance) - in an innovative production that should not be missed.