Like a supermarket "Christmas Dinner" sandwich, cramming the delights of a full festive lunch into every bite, Epiphoni Consort’s The Christmas Truce was at once historical play, choral concert and carol service, and so wonderfully enjoyable I didn’t want it to end.

Wow! First, the Black Panther team took cinema by storm; now, they have conquered theatre as well. Or, at least, two of them have. The Convert has been written by actor and playwright Danai Gurira (Okoye), and stars Letitia Wright (Shuri).

Playwright Mark Ravenhill, who shot to fame in 1996 with his in-yer-face shocker Shopping and Fucking, has been more or less absent from our stages for about a decade. The last play of his that I saw at the Royal Court was the Cold-War fantasy Over There – that was in 2009. So his current show, called with brutal directness The Cane and about a teacher who used to administer corporal punishment, is something of a comeback.

One emotional high point in The Curious Incident of the Dog in the Night-Time, the much-lauded Simon Stephens adaptation that is back in our midst once more, comes when the teenage Christopher Boone is floated in the air as part of his dream of being an astronaut.

For those of us who have never thought much before about links between pantomime and Shakespeare, Fiona Laird’s new Merry Wives offers a chance to see how the combination works.

It's been 40 years since The Double Dealer last had a major airing (indeed, perhaps any airing) in London, so on the basis of novelty value alone, the Orange Tree's end-of-year offering is worth our attention. But as always with Restoration comedy, Congreve's 1693 story of romantic skulduggery and misalliance poses a basic problem: how do you make sense of a byzantine plot characteristic of the genre?

Susie McKenna and Steven Edis have been creating pantos for Hackney Empire for 20 years, and over that time its seasonal offering has become the theatre's signature event. To add to the anniversary celebrations, Clive Rowe, who first donned false bosoms as the Dame in 1998, has, after a break, returned to play Widow Twankey in Aladdin, while Tameka Empson (from EastEnders) is also back, as the Empress of Ha-Ka-Ney. Happy times.

This is Natasha Gordon’s first play, and in it she has created an entire world. A world of grief and laughter, conflict and closeness. A world that is very specifically located within Britain's Jamaican community, yet one whose themes of loss and belonging cross boundaries.

The Old Vic's revival of its successful Christmas Carol first seen this time last year had me at the mince pies: they were served before curtain up by a Bob Cratchit figure while we admired the shoal of Victorian lanterns lighting the way over a cross-shaped stage that cuts the audience into quarters. Top-hatted gentlemen and gentleladies in swishing black great coats strolled about tossing oranges.

What do you gain by casting Dr Faustus and Mephistopheles as women? In the programme for this often illuminating production, director Pauline Randall declares, “There’s always a rather intimidating, institutional question of ‘why’ when it comes to these decisions, and especially when it comes to handling a classical text. Sometimes the right refute is 'why not?', and we’re choosing to respond to that more productive challenge.”