Look hard enough and you’ll spot a clue in that title.
When Manchester’s Library Theatre merged with art-house cinema Cornerhouse to form Home - which opens in an impressive £25 million building next spring - it wasn’t just a case of new name, same company.
Shakespeare’s Globe is one of the most embracing public theatre spaces in the capital, and in a year of inevitable remembrance for the 100th anniversary of the outbreak of the First World War, it is gathering us together to hear the alternately punchy and poignant story of the treatment of the war’s physical casualties in a military hospital.
The autumn theme at the Ustinov Studio is built around three specially commissioned new translations of black comedies by leading European dramatists, with the theatre’s always adventurous approach attracting actors of the quality of Kenneth Cranham, Lia Williams and Alun Armstrong later in the season.
With this year’s centenary of the First World War, authors such as RC Sherriff, Pat Barker, Sebastian Faulks and Stephen MacDonald are enjoying a revival of their dramatic works at theatres around the country.
Peter Arnott’s new play takes us into Berlin in 1939-40 and into the heart of a jazz band which has been offered a Faustian pact - the group can continue to play their favourite music but only as part of a Nazi broadcasting service aiming to undermine the British.
David Alden returns to English National Opera with a deracinated Otello that moves the action forward to the 1920s, suggested by Jon Morrell’s period costumes.
Since its 2011 Royal Opera House world premiere, Mark-Anthony Turnage’s operatic treatment of the tragic life-story of Texan Playboy model and TV personality Anna-Nicole Smith, who died in 2007, has been staged in New York and Dortmund, and now returns for its first London revival.
Simon Callow’s one-man performance of 12 characters from the life of Jesus is a hybrid affair, as if Alan Bennett’s Talking Heads had been crossed with a medieval mystery play.
More tightly integrated than their previous outing, there is an organic, holistic feel to this triple bill, as if each choreographer worked from the same blueprint.
To be Hamlet, or to be Hamlette? Wearing big baggy breeches and a natty, cropped choirboy haircut, there is no question that Maxine Peake brings a breath of fresh androgynous air to her red-hot interpretation of the most psychologically challenged of Shakespeare characters.
A brand-new intimate fringe theatre above a pub in Twickenham gets off to a rousing and inspiring start with a musically and scenically stunning production of Sondheim’s bloody slasher musical.
Following their collaboration on the intense Misterman, Enda Walsh joins forces once again with Cillian Murphy in a play that sees them dancing and darting across familiar thematic ground without quite resorting to parody.
Rory Mullarkey’s tricky new play contains passages which are rallying, angry and necessary, but it also seems wedded to an absurdist mode of expression which ends up undermining its raw, odd energy.
Nicholas Hytner’s Olivier award-winning 1985 production of Handel’s Xerxes has aged well, if it’s aged much at all.