In my first of three post-show Q&As this year with Lazarus Theatre, I was at Greenwich Theatre for this pioneering ensemble company's exciting re-examination of Shakespeare's The Tempest.
The plays may have been written 420-odd years apart, but I was really struck by how many parallels there were between the discussion I hosted last week, to the European premiere of Jordan Tannahill's Late Company, and the one I hosted last night, to Christopher Marlowe's 16th-century classic Edward II.
What would Bertolt Brecht have made of Donald Trump? Brecht's "epic theatre" was sparked by the rise of Nazism in 1930s Germany. Many pundits have likened the political period we've now entered with that dark decade of the twentieth century.
There's something in the water with The Beggar's Opera at the moment. Lazarus Theatre's new, modern-dress, 80-minute version at Brockley Jack Studio Theatre is the third major London presentation of the story of womanising highwayman Macheath this year.
Are there any stage taboos left? John Ford's 17th-century romantic thriller 'Tis Pity She's a Whore, centring on an incestuous relationship between a brother and sister, is one of the most controversial in the classical canon. Does it still have the power to shock?
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?
A couple of weeks ago, as part of the ongoing Hamlet hysteria, I was amazed that such an apparent uproar was caused by director Lyndsey Turner's experimenting with the placement of the play's most famous soliloquy, "To be or not to be".
Since I got back from my month of remote working in Mallorca, I’ve been lucky