Three generations of a Caribbean-British family. - a family drama of love, loss and hope.

Any play that uses the words of Indian anti-caste campaigner B R Ambedkar and British women’s rights campaigner Sylvia Pankhurst gets my vote.

Football, babes and fit boys, racism and identity – spicy ingredients mixed with a light touch in Eng-Er-Land, a one-woman, one hour, coming of age tale.

Fittingly for its title, Conundrum is a play that’s simultaneously too much and too little.

“ I go to all my son’s hangings,” says the executioner’s mother in their small Mexican town.

It’s not surprising that Rare Earth Mettle sparked controversy even before curtain up on the first night.

Because Britain’s foreign interests and influences continue to largely follow colonial lines, South America doesn’t get much of a look-in compared with South Asia or East and Southern Africa.

Set in military-ruled Argentina in the late 1970s, Azor is a thriller with little action and no thrills – but plenty of chills.

Yellowfin is a hoot - a funny, brilliantly acted play about what to do with one of the last remaining cans of tuna on Earth, in the wake of the sudden disappearance of fish from the seas.

Malindadzimu starts as a sharp-tongued Zimbabwean-British mother-and-daughter clash and ends as a drum-beating, foot-stomping spiritual African rebirth.

African women dominate the double-bill at the Arcola’s outdoor theatre, and Nigerian and South African men don’t cover themselves in glory in either play.

Is this story relevant, asks Diane Page, director of the revival of Statements After An Arrest Under the Immorality Act, set in apartheid South Africa and revived at the Orange Tree Theatre.

Sabaya is the first Yazidi thriller. And it has a particularly powerful —and upsetting — impact because it’s a documentary.

Silent Voice is a claustrophobic, intense documentary about a few tormented weeks in the life of a Chechen refugee whose face cannot be shown and whose voice cannot be heard.

With travel still iffy, the Royal Geographical Society’s Earth Photo exhibition offers a chance to glimpse aspects of the world without leaving London.

Lava starts as a migrant’s story and ends as an affirmation of black humanity. Sadly, both migration (“We didn’t have a lot, but had the means of making a home elsewhere”) and racism still need passionate advocacy.

Changing Destiny opened its run at the Young Vic with an audience roar. Actor Ashley Zhangazha declared, “It’s great to be back” after 18 months without theatrical lights, and the theatre erupted with cheers and applause.

A small group of men watch resignedly, silently, as a Post Office van stops at the handful of homes on a bleak Hebridean island. An opera singer fills the soundtrack.

The Overseas Student standing on the stage of the Lyric Hammersmith recalling his three years in London is Gandhi long before the earned the honorific Mahatma.