Every night something different - a high wire act without a safety net as the Stoppers create a brand new musical on the spot.

Set in a funfair the performers tell about the plight of refugees and asylum seekers welcomed to Britain - enlightening, moving, infuriating.

Two interesting plays from Arrow & Traps about two relatively unknown women who in a world of men  lived their lives in their own way.

A powerful story of three men returning from different conflicts and the problems they face fitting back into a society - genuinely unmissable theatre.

A splendid cast work hard in a less than sparkling show directed by Shuntaro Fujita and supervised by Thom Southerland in a brilliantly reconfigured theatre.

Unmissable account of a great forgotten Prime Minister who presided over a Government of titans which brought about most of what we take for granted about the Britain we live in.

Splendid award winning production returns to the main stage of the Arcola - a deserved return with fine performances all round.

Two twitchers end up on a remote Scottish island which the Government plan to use as a place to text anthrax - it is 1939. There to look at the birds and the island and report back they emncounter  the only two inhabitants, a cantankerous old man and his repressed niece. One thing leads to another as the girl comes between the boys and the birds.

Go and be amazed, baffled and enchanted as a journey into inner space takes place.

A worth while revival of a 1982 play of interest as it signals what was to come from Kevin Elyot, although it is showing its age - but saved by good performances all round.

The perils of becoming an internet sensation are revealed in this baffling monologue devised for radio by Rose Heiney. It may have sounded better there as a piece of radio drama but it is not the stuff of the stage. Just as what happens in Vegas should stay there so too it should be for Radio Four.

Famously lampooned by Forbidden Broadway as I Sleep with Everyone, the leading ballad, Love Changes Everything is apparently Lloyd Webber's most successful song. The show is one in which the sexual roundabout involving some far from loveable people gets tedious although director Jonathon O'Boyle does his best with this production which originated at the Hope Mill Theatre Manchester last year.

The smell of the greasepaint and the roar of the crowd are there in this spellbinding monologue delivered with skill and pathos by Peter Duncan as an ageing comic, star of panto and summer show, who has seen better days.

Dazzlingly performed, staged and directed but uninvolving play about low life in LA.

Martha Plimpton's performance is one not to miss - the Donmar has ended 2018 with one of the best plays of the year.

An enthralling evening with at its heart a superb performance by Sharon D Clarke.