I had my own Godotesque moment to start last night's Waiting for Godot Q&A. The stage was bare. Where were the chairs? Was anyone bringing chairs? How long would we be waiting for chairs? Did such things as chairs exist?
How many creatives does it take to make a one-man musical? The answer can be "quite a few". And that it is in the case of SUPERHERO, the British one-man - or rather "one-dad" - musical now receiving its world premiere at London's Southwark Playhouse.
Just 11 months after I chaired my first post-show talk for Jon Brittain's Rotterdam - then at Trafalgar Studios for its West End premiere - and so much has changed. The play went on to win an Olivier Award and transfer to New York before now returning for its second West End run.
What an astonishing way to make your playwriting debut. Theresa Ikoko's first full-length play Girls was a Verity Bargate finalist and winner of both the Alfred Fagon Award and the George Devine Award.
As part of the hour-long Coq-Tales on Thursday 13 October 2016, I got to chat to two incredible West End leading ladies, Anna-Jane Casey and Emma Hatton.
Book writer Wendy Gill was inspired to write That Man after discovering the music of Dutch pop-jazz singer and YouTube sensation Caro Emerald, and it's Emerald's hits that punctuate proceedings.
What does The Trial of Jane Fonda, concerning the actor-activist's controversial protests during the Vietnam War (in which the UK did not support our US allies), have to tell us about more recent conflicts in Syria and Iraq (in which we did)?
Last seen in London in 1981, when its premiere production ran at the West End's Apollo Theatre after success Off-Broadway, I'm Getting My Act Together and Taking It on the Road has returned 35 years on for a limited season.
Most theatregoers will have only learned about Carl Peter Værnet from watching Claudio Macor's new play Savage, now running upstairs at the Arts Theatre. But the Nazi doctor from Denmark has played a large role in the life of LGBTI activist Peter Tatchell for decades.
What's the difference between political theatre and theatre about politics? Can theatre be a catalyst for real change? Do right-wing political perspectives get a fair hearing onstage or is theatre the preserve of the left-wing?