If you know next to nothing about the Cameroonian War of Independence, you are not alone. A quick poll of the audience at my post-show Q&A for Under the Kundè Tree proved that ignorance of the 1950s conflict is the norm - and intentional.
Joshua Hepple is a hugely accomplished person. But, as he joked with me via WhatsApp, he received no major attention until he revealed publicly that, with his severe cerebral palsy, he can't wank himself. And then Jon Bradfield wrote a play about it.
Following the news yesterday of Paul O'Grady's unexpected death, last night's performance of The Way Old Friends Do at London's Park Theatre was dedicated to the comedian and drag legend, whose voice opens the show.
If you think the life of a jobbing actor is hard and full of rejection - and it is - spare a thought for non-British actors trying to make their way in London theatre who may not even make it to audition stage purely because of their nationality or accent.
Southwark Playhouse is my neighbourhood theatre. Over the past decade, I've chaired countless post-show talks at what was meant to be its temporary home on Newington Causeway, a three-minute walk turning left outside my front door.
Negotiations seem to be in the news every day - which makes Winner's Curse, conceived by former diplomat and veteran of countless Middle East negotiations Daniel Taub, a highly topical piece. It's co-written by Dan Patterson and stars his long-time collaborator Clive Anderson.
A note in the programme for One Who Wants to Cross cites a sobering statistic: according to the 2020 IOM World Migration Report, the number of international migrants, as of June 2019, had reached almost 272 million.
One of the few things I enjoy even more than theatre is talking politics. Chairing a post-show discussion about a brilliant new political play, written and directed by a Westminster insider, is my idea of bliss.