War Horse at the National Theatre on Sunday’s Armistice Day centenary: there were medalled veterans and at least one priest in the rows in front, dark suits and poppies all around, and scarcely a youngster in sight. When the bells rang out in a closing scene, the tolling was extended, and the veterans in the audience stood.

What to make of The Simon & Garfunkel Story, which began a week-long residency at London’s Vaudeville Theatre last night and which tours in the new year? A success “from Sydney to Seattle” apparently, with Elaine Paige having called it “amazing” and various regional newspapers offering superlatives.

Dramatic Exchanges is a dazzling array of correspondence, stretching over more than a century, between National Theatre people.

Because of the #MeToo movement, and the revival of feminist protest, the theme of sisterhood now has a much stronger cultural presence than at the start of the decade. It seems to be a great time to be a female playwright, and Ifeyinwa Frederick's irreverently noisy, and often hilarious, debut play is proof that there is a lot of upcoming new talent waiting to make its mark.

Don Quixote and his paunchy sidekick long ago escaped the pages of Miguel de Cervantes' novel. The image of the sad-faced knight on his bony nag Rocinante with his companion Sancho Panza atop his donkey are familiar in film, opera, paintings and everything from kitchen tiles to cartoons and furnishing fabric. The knight himself foretold their afterlife, predicting that his exploits would be memorialised in paintings and sculpture. These two - who never existed - may be the most recognisable Spaniards of all time.

It’s clear from the start – from a Prologue that quickly dissolves familiar rhythms and words into a Babel of clamour and sound. This RSC Romeo and Juliet, newly transferred to the Barbican, isn’t much interested in what is said.

You can see why artistic director Indhu Rubasingham chose to stage this version of Zadie Smith's classic White Teeth as part of the Kiln's opening season. The bestselling 2000 debut novel is set in Willesden, Kilburn and thereabouts so it's a good fit for what is essentially a play that pays tribute to the area's multicultural character.

To the recent spate of shows that put their own narrative-building first, we can now add Still No Idea, with the addendum that this self-penned two-hander may be the funniest and fiercest of them all to date.

Two countries; two histories. Being black in the US; being black in the UK. Compare and contrast. Which is exactly what debbie tucker green’s amazingly ambitious new epic, which straddles centuries and continents, succeeds in doing. Taking a forensic look at what it means to be at the sharp end when you are Black British or African American, the show has a thrillingly unexpected theatre form and is written in green’s distinctive style of reiterative and repetitive punchy dialogues, which here are both emotionally passionate and imaginatively modernistic.

Adultery seldom looks less adult than in the form of the mild-life crisis – that much-satirised condition in which desire is eclipsed by delusion, wisdom by foolishness, and sensible coats by leather jackets.