The Young Vic’s victory parade came as no surprise after a bumper year, but, in an impressive night for studio and publicly funded theatre, the egalitarian 2015 Oliviers also showered affection upon the Hampstead, Donmar, RSC, Chichester, Royal Court and Almeida. Many of their pioneering productions have already made it into the West End, proving – once and for all – that creative risk and profitmaking need not be mutually exclusive.

Some dramas begin with a brilliant idea. April De Angelis’s new black comedy, After Electra, is one of these. It starts with an audacious premise: the octogenarian artist Virgie is celebrating her birthday in her abode on the Essex coast, and invites family and close friends to join her. So far so normal. Then, as they assemble, she drops a bombshell. She tells them that she has decided to commit suicide. She’s had enough of life, and, dreading the numerous indignities of old age, wants to end it all.

While seven-way debate rages, broadcaster and debuting playwright Jonathan Maitland takes us back 25 years to a radically different political landscape: a time of regents, and of regicide. It’s 1990 – Thatcher the leader claiming divine right to rule, Geoffrey Howe her unexpected assassin. How did the mild-mannered Welshman, whose rhetorical powers Denis Healey compared with those of a dead sheep, become a wolf in sheep’s clothing?

Despite the age of austerity, London theatre is booming. Not just the West End, but Off-West End and the fringe as well. One sign of its health is its openness to Continental imports, especially to plays that have been transposed into English by their own authors. If the market leader of this trend is Croatian-born Tena Štivičić’s 3 Winters, then the latest example is Maria Milisavljevic’s often equally compelling Abyss.

Still they keep coming, 35 years on from the London premiere of Sondheim's "musical thriller": Sweeneys above pubs, in pie shops, concert halls and theatres of all sizes, on the big screen, Sweeneys with symphony orchestras, two pianos or a handful of instruments wielded by the singers, Sweeneys as musicals and as operas, the dumpy and the tall. Which type was this one? Not a vintage English National Opera production, that much seems clear.

“Now I am become death, the destroyer of worlds.” J Robert Oppenheimer’s quotation from Hindu scripture is often used to signify the scientist’s rueful realisation, when it was too late, of what he had created in delivering an atomic bomb to the US military.

The devil gets the best lines, as usual. That may depend, of course, on whether we’re prepared to qualify David Cameron in that role, but in William Gaminara's rapid-firing farce The Three Lions, the PM (played with real brio by Dugald Bruce-Lockhart) certainly gets to show off his nefarious side, and then goes on to riff demonically as everything descends, gloriously, into chaos.

All Savoyards, whether conservative or liberal towards productions, have been grievously practised upon. They told us to expect the first professional London grappling with Gilbert and Sullivan’s eighth and, subject-wise, most problematic operetta in 20 years (23, if the reference is to Ken Russell’s unmitigated mess, one of English National Opera’s biggest disasters). Yet this is not Princess Ida as the pair would recognize it.

Joshua Harmon’s provocative 2012 piece is the Rocky of comedies. His evenly matched sparring partners, a pair of viscerally antagonistic cousins confined in close quarters after a familial loss, bruise, bludgeon and literally draw blood. The bonds of kinship have never felt so tangible, so knotty, so inescapable.

The seasonal family reunion play is a hardy perennial. Like the Christmas tree that must take its place on the stage, it is usually spiky, dry and decorated with glittering ornaments – as in acidic jokes, acute embarrassments and ghastly revelations. Into every yuletide family a stranger must come, and all the most careful preparations must be ruined. Normally, everyone gets drunk, food gets thrown and truths get told. But if these are the rules of the genre, how does Sam Holcroft’s new drama bend them, and play with them?