Children's rhymes, when sung at just the right tempo, with just the right lilting, listless tone, have a tendency to become slightly unnerving

sacredCOW's The Quivering is an intelligent and, against all odds, often hilarious rumination on death and the act of dying.

This is a beautifully written piece, the language segueing marvellously from ferocity to lyricism with the occasional detour through middle-class twaddle thrown in for good measure.

Wild East is a play that doesn't quite know what it wants to be: a nuanced comedy about corporate culture, a chamber drama about personal betrayal, or a riotous, slapdash cartoon.

In more sense than one, Hélène Cixous’ The Perjured City Or, The Awakening of the Furies has history pulsing through its veins.

Alice, a former actor-turned-care worker, and Tom, who's still acting despite himself, are in a convenient but complacent relationship, not so much in love as in limbo.

Checklist for an Armed Robber remains an ambitious and compelling piece. Its shortcomings, while not negligible, are considerably fewer than its strengths.

Blessed with good humour, a magnificent score, and a leading lady to write home to mother about, the production never really displeases – even when it’s difficult to hear – and is, more often than not, almost helplessly endearing.

Played for progressively darker comic effect until the comedy is so black that it’s no longer funny, the guards are nasty pieces of work, lewd, vindictive and increasingly violent.

With its spectral bodies and sea of words, all floating about in the chiaroscuro of memory, Anna Tregloan's Black is a difficult work to categorise.