The title of James Fritz’s play is allusive, oblique even. I assume it refers to how, in the aftermath of a catastrophe such as an erupting volcano, it’s the lava that spreads outwards, changing the form of the surrounding landscape. It’s not the epicentre of the disaster, but its adjoining regions, where the impact of what has happened can begin to be assessed.

One of the more irritating memes (it’s a competitive field, I know) is the “Name a more iconic couple” appearing over a photo of Posh and Becks, or Harry and Megan, or Leo and whoever. I’ve always been tempted to close the discussion down with a photo of Bonnie and Clyde, because couples do not come more iconic than they are. 

The title is so long that the Royal Court’s neon red lettering only renders the first three words, followed by a telling ellipsis. But lyrical new play For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy lives up to its weighty name.

If Nero fiddled while Rome burned, then Boris Johnson has played the whole sodding orchestra. Between the parties, the lying, the enabling of Russian financial interests and the record European Covid death-toll he has not just traduced Pitt, he has tap-danced on Churchill’s grave in his narcissistic attempt to assert gravitas.

Zorro (what a name!) is back, swashing and buckling his way into the West End, 13 years after he left and now not the only one wearing a mask. He’s also an entertainer turned political leader, inspiring his people to resist an evil martinet. Well, that sort of thing is back in fashion too.

Ché Walker claims he wrote Wolf Cub, now in the Hampstead Downstairs studio space, in a two-day blitz prompted by Donald Trump’s election win in 2016. He was working in Atlanta at the time, the home city of Claire Latham, the solo performer for this piece.

Jane Austen’s waspish vision revealed the vanities, delusions and cynical financial calculations that underpinned most of the relationships of her day. The element in which she thrived was repression; the heart constrained beneath the corset, the raging passion held firmly in place by that most important part of an Englishman’s anatomy, the stiff upper lip.

Megalomania is inherently theatrical. So it feels like it was only a matter of time before Donald Trump took to the boards, blasting the assembled crowd with his tangerine paranoia and clownish nihilism. What was less predictable was the turbo-charged brilliance of his reincarnation by Bertie Carvel, whose pitch-perfect observation of every physical tic is underscored by the understanding of Trump’s primal need to reduce everything around him to its basest physical state.

Danya Taymor’s production of “Daddy” A Melodrama has a huge exuberance: a tour de force in itself, it's also a scintillating introduction to the work of Jeremy O Harris. The young American dramatist earned considerable attention, and acclaim for the acuity of his investigation of race issues, for his 2018 Slave Play, but it's this earlier piece, written when Harris was in his mid-twenties, that reaches London first (after a two-year Covid delay).

Musicals don't get madder than Anyone Can Whistle, the 1964 Broadway flop from onetime West Side Story and Gypsy collaborators Stephen Sondheim and Arthur Laurents which makes history of sorts at Southwark Playhouse as the first Sondheim show to be revived since his death last year, age 91.