Forty years after Annie swept on to Broadway, brimming with shining-faced optimism amidst wearying times, along comes Nikolai Foster's West End revival of the show to do much the same today. A tentative-seeming Miranda Hart may be the name player, making her musical theatre debut in the role created by Broadway legend Dorothy Loudon.

On 8 April 1952, screenwriters Betty Comden and Adolph Green were chatting to Charlie Chaplin at a party when he started raving about a picture he’d seen the previous night at Sam Goldwyn’s house. It was called Singin’ in the Rain – had they heard of it? “Heard of it? We wrote it!” But then, this dynamic duo had form: five years earlier they wrote On the Town.

Bard of Metroland and scourge of Slough, John Betjeman is, alongside Philip Larkin on parenthood, still one of the 20th century’s most-quoted poets. Hugh Whitemore’s play, part highlights reading and part biographical drama, offers a hugely charming account of a poet who, for many readers, epitomises a nostalgic but conflicted view of England.

Hitting the essence of a Fellini masterpiece in a different medium is no easy task. Try and reproduce his elusive brand of poetic melancholy and you'll fail; best to transfer the characters to a different medium, as the musical Sweet Charity did in moving the action of Le notte di Cabiria from Rome and environs to New York.

The monologue is a terrific theatre form. Using this narrative device, you can cover huge amounts of storytelling territory, fill in lots of background detail – and get right inside a character’s head. But the best monologues are those that interlock with other solo voices, giving different points of view on the same situation.

When TV drama tackles Britain’s class divide, the go-to working-class type is the northerner: gritty, blunt of vowel and partial to a deep-fried Mars bar. The first and perhaps only pleasant surprise in Matt Parvin’s debut play Jam, produced by the ever-adventurous Finborough, is that it’s set in Cornwall.

Make no mistake about it, Branden Jacobs-Jenkins is a playwright to watch. London receives its first opportunity to appraise his vibrant, quizzical talent with this production of An Octoroon, for which he received an OBIE in 2014 (jointly with his second Off-Broadway work of the same year, Appropriate). His follow-on play Gloria, opening at the Hampstead Theatre in June, was a finalist in the Pulitzer drama category in 2016.

Matt Hartley's personal take on London's housing crisis returns to the Hampstead Theatre's studio space downstairs and is sure to hit audiences where, so to speak, they live. First seen at the same address in a production not open to the press, the play examines the spiralling costs associated with property in the capital and how those pressures affect the current generation of 20- and 30-somethings trying to make this town their home.

The Globe’s artistic director Emma Rice has made no secret of her desire to go out with a bang, in this, the final season of her brutally truncated tenure at the company. With this Twelfth Night she stages a departure with bells (and whistles, and disco-balls, electric guitars, congas, Sister Sledge, and yes, a whole rig of lighting) on – a neon-bright, two-fingered salute to the board that forced her out.

Men playing boys playing girls, women and men, all female parts convincingly falsettoed and high musical standards as backbone: Sasha Regan's single-sex Gilbert and Sullivan has worked a special magic on Iolanthe and The Pirates of Penzance, HMS Pinafore and now The Mikado, not so much. Energetic song and dance are still in evidence.