In Gravity of Center, RUBBERBANDance Group literally pushes its dancers to the brink. Early on, the five dancers scurry up to the front of the stage, where one of them lurches out, starting to fall. The others are only just in time to save him, grabbing hold of his arms or clutching at his clothes. The audience audibly catches its breath.

Battersea Arts Centre has a fine track record for picking out fresh talents, nurturing them and then letting them bloom in the nooks and crannies of its magnificent building. Jerry Springer the Opera started life at a scratch night here. And in 2007, a young company called Punchdrunk famously filled the place with their Masque of the Red Death.

It's getting to be a habit for the Menier Chocolate Factory to transfer their acclaimed Sondheim revivals from the quirky intimacy of their own venue to the big bad world of the West End.

In the past year, we have been treated to a slew of high-profile French, South African and home-grown takes on Strindberg's 1888 masterpiece. But it would be a shame if theatregoers felt too Miss Julie-ed out to brave this stunningly left-field version, directed by Katie Mitchell and Leo Mitchell.

The Chichester season (reduced in scale this year as the main theatre is renovated and the big shows are housed in a tent) kicks off in the Minerva Studio now with Richard Eyre's irrepressibly zestful revival of The Pajama Game, the 1954 Broadway hit (with music and lyrics by Richard Adler and Jerry Ross) that became a Doris Day film three years later.

Jealousy is the enemy in an impeccably cast tragedy. And a Swedish one-man-show is the West End's new best friend

Arts prizes clearly have a function beyond making obscure artists more visible and a little less poor. In the case of The Place Prize for choreography, now in its fifth edition, it also enables the making of the work in the first place. While a visual artist or a novelist can shut themselves away and simply get on with it, putative dance-makers are caught in a bind.

Conor McPherson's The Weir established itself as an instant classic when it opened at the Royal Court in 1997.

This revival begins in a sombre mood with the thrust stage covered in crunchy desiccated leaves which a bleak Orlando, in servitude to his abusive older brother, and the loyal ancient Adam (beautifully played by David Fielder) have been tasked to sweep into a wheelbarrow.

Dennis Potter’s death in 1994 was mourned in some quarters as the passing of Britain’s greatest ever television writer. But the searing inventiveness of Brimstone and Treacle, Pennies from Heaven or The Singing Detective was not universally admired.

Propeller Arts is an all-male-troupe, which is unusual in itself when gender-blind casting in Shakespeare is on the rise and more women are taking leading male roles.

Draft Works is a platform for new choreography, works created by dancers of The Royal Ballet and associate artists.

Othello pays a glorious tribute to Hytner's decade at the National

In Mayerling, Kenneth MacMillan creates a world on stage, a stifling, glittering court that boils over with repression and need. Telling the story of the doomed Crown Prince Rudolf, who commits suicide with his teenaged mistress, MacMillan fills the stage with charismatic, individual portraits. It’s a darkly adult ballet that shows off The Royal Ballet’s strength in drama.

At last, Tamara Rojo gets her hands on 'the people's ballet'. And how does she sex up the ENB? By throwing herself into Jean Cocteau's grunge-chic