There’s a lot of going back to the future in theatres just now - shows (like this one) postponed by 18 months or so and delayed still further by co-star Roger Bart being indisposed on press night are bringing the bright lights back to the West End.

When Brendan Coyle, playing a modestly magnetic widower and sales rep called John in this revival of Conor McPherson's 2004 play Shining City, first appears on stage, he looks thoroughly bewildered. His eyes dart back and forth as he initially struggles to find his bearings. He has arrived at the office of the therapist Ian (Rory Keenan) whom he has sought out in an attempt to understand why he keeps seeing the ghost of his dead wife.

Much has happened in the five years since your reviewer braved the steep rake at The Other Palace and saw The Last Five Years (not least my now getting its “Nobody needs to know” nod in Hamilton – worth a fistful of Tonys in prestige, I guess) so it’s timely to revisit Jason Robert Brown’s musical.

We’re in an agreeable drawing room with an author, Charles Condomine, who is looking forward to having a bit of fun with a local spiritualist, Madame Arcati, whom he has invited over for an evening séance. But once a conversation with his wife, Ruth, debating the relative attractiveness of his deceased first wife, Elvira, cracks like a shot from Chekhov’s gun, trouble is as sure to come as the spirits themselves.

The Wigmore Hall is a bastion of white musicians playing the music of white composers to a largely white audience and it is to the credit of the management that, in seeking to diversify, it staged this lecture-recital on the history of black musicals in Britain from 1900-1950 in a main evening slot.

A stealthily powerful play gets the production of its dreams in Camp Siegfried, which marks a high-profile UK presence for the American writer Bess Wohl.

The Coronet Theatre is a beautiful space – it’s a listed Victorian building, and the bar’s like something out of a film about Oscar Wilde. Unfortunately, Robert Holman’s The Lodger, a new play about family and trauma, doesn’t live up to its surroundings.

God is a tricky one. Or should that be One? And definitely not a He. So when she says take revenge, then vengeance is definitely not only hers, but ours too. American playwright Aleshea Harris’s dazzlingly satirical 2018 extravaganza is about two women seeking justice and getting even, and it comes to the Royal Court from New York, trailing shouts of enthusiasm and the Obie Award for Playwriting.

Memories are notoriously treacherous — this we know. I remember seeing Shelagh Stephenson’s contemporary classic at the Hampstead, when this venue was a prefab, and enjoying Terry Johnson’s racy staging, which starred Jane Booker, Hadyn Gwynne and Matilda Ziegler as the trio of bickering sisters, and then being blown away by his West End version, in which comedy heavyweight Alison Steadman partnered Samantha Bond and Julia Sawalha (with Margot Leicester thrown in for good measure).

Let it snow! The Broadway musical adaptation of the Disney film behemoth Frozen premiered back in 2018 and now, following Covid delays, a rejigged version finally makes its home in the West End – to the delight of the army of miniature Elsas in attendance.