I started this past weekend in a room full of wonderful, talented and inspiring women (and some great male allies) at London's Tristan Bates Theatre chairing a BOSSY all-female panel after a performance of Robert Luxford's Nuns.
In the second of my back-to-back post-show Q&As at the King's Head Theatre this past week, I was at the Off-West End powerhouse's original home in Islington for Atticist's first London revival of David Greig's 2002 play Outlying Islands.
In the first of my two back-to-back King's Head Theatre post-show Q&As, I was at Trafalgar Studios for the West End premiere of Kevin Elyot's first play, Coming Clean, 37 years after the actor-turned-writer made his playwriting debut with it at London's Bush Theatre.
How does it feel to have a one-woman show written especially for you by one of your country's leading writers? Pretty damn good, according to Songs for Nobodies' Bernadette Robinson - though, to be clear, there was nothing passive about this privilege in her case.
My final post-show Q&A of the year, to the stage premiere of Chasing Bono, was an absolute Irish corker! After a revealing discussion about the fine line between success and failure and the perils of fame, it ended with an impromptu song performance. Could someone in stage management get us a guitar at Soho Theatre?
You know you're at a different type of theatre experience when you find yourself singing along - loudly - about how much we all love looking at cocks in the locker room. (Even when you've never been in a cocker-room.)
Populism, patriotism, political theatre, predictions for Brexit and the fast-paced nature of life-imitating-art-imitating-life were amongst the topics covered in an incredibly good-natured discussion across a wide partisan spectrum at An Honourable Man.
One of my favourite reviews of Fanatical, the new British musical currently receiving its world premiere season at London's Playground Theatre, opines: "It will remind you why you love whatever it is that you're a fan of".