Griffiths, who has died aged 88, explored the conflict between reform and revolution in plays and scripts from the film Reds to dramas such as Occupations, The Party and Comedians

Of all the political dramatists who emerged in Britain in the late 1960s, Trevor Griffiths, who has died aged 88, was the most fervent and committed. As a Mancunian Marxist he brought to theatre his love of dialectic. He also believed passionately in “strategic penetration” of the citadels of culture. He succeeded, in that plays such as The Party and Comedians were taken up by the National Theatre; Bill Brand, an 11-part series about the frustrations of parliamentary democracy, was shown on ITV; and his screenplay for Reds, co-authored with Warren Beatty and based on John Reed’s account of the Russian revolution, Ten Days That Shook the World, became an Oscar-winning Hollywood movie.

If there was one theme that informed Griffiths’s work, it was the conflict between reformist pragmatism and revolutionary idealism. It was there in an early work like Occupations, first seen at the Manchester Stables in 1970 and quickly picked up by the RSC for a production starring Patrick Stewart and Ben Kingsley. Set in Turin in 1920 at a time when every engineering factory in northern Italy had been taken over by the workers, the play involves a head-on confrontation between Kabak, a businesslike Comintern representative, and Antonio Gramsci, the Sardinian firebrand advocating shop-floor soviets.

American actor best known for his role as Gunnery Sergeant Emil Foley in the 1982 film An Officer and a Gentleman

The actor Lou Gossett Jr, who has died aged 87, is best known for his performance in An Officer and A Gentleman (1982) as Gunnery Sergeant Emil Foley, whose tough training transforms recruit Richard Gere into the man of the film’s title. He was the first black winner of an Academy Award for best supporting actor, and only the third black actor (after Hattie McDaniel and Sidney Poitier ) to take home any Oscar.

The director, Taylor Hackford, said he cast Gossett in a role written for a white actor, following a familiar Hollywood trope played by John Wayne , Burt Lancaster , Victor McLaglen or R Lee Ermey , because while researching he realised the tension of “black enlisted men having make-or-break control over whether white college graduates would become officers”. Gossett had already won an Emmy award playing a different sort of mentor, the slave Fiddler who teaches Kunta Kinte the ropes in Roots (1977), but he was still a relatively unknown 46-year-old when he got his breakthrough role, despite a long history of success on stage and in music as well as on screen.

Forbes Masson stars in Gary McNair’s version of the gothic novella, Tim Key joins Kitson in an Old Vic two-hander and Jason Manford celebrates all musicals great and small

Robert Louis Stevenson’s ever-compelling “strange case” becomes a solo play, adapted by Gary McNair and performed by Forbes Masson at Dundee Rep earlier this year. Directed by Michael Fentiman, it is the latest addition to Original Theatre ’s impressive collection.

Regent’s Park Open Air theatre, London
Fun songs and exciting immersive touches delight children and adults alike in a lively picture book adaptation from actor Cush Jumbo and Katy Sechiari

‘Ha ha!” laughs my six-year-old as a knitted mole pops out of the ground and sneakily drinks a carton of Ribena. There’s a lot of amusement and delight in this lively adaptation of the kids’ picture book Bear Snores On , originally created by Karma Wilson and Jane Chapman, and given new life here by co-writers and directors Katy Sechiari and Cush Jumbo (the actor, quite the switch of direction since her last role playing Lady Macbeth ).

A group of animals shelter from a storm in the cave of a hibernating bear, and after a short alfresco intro we join them inside, in a specially created space (so actual inclement weather won’t disrupt the show too much). We get there through a tunnel lit up by the LED wristbands we’ve all been given, a nice immersive touch. “That was really exciting. The wristbands were amazing!” says my son Jamie, who’s also very impressed by some UV light effects on the cave walls – designer Rebecca Brower has done a great job, especially on the chunky knitted costumes that give Mouse, Badger and Hare a Central Saint Martins meets Gardeners’ World kind of vibe.

Menier Chocolate Factory, London
Paul Grellong’s gripping dialogue makes a brisk plot and unlikable characters immensely watchable as a Harvard professor invites a white supremacist for a debate

‘I’m one of the good guys,” insists a beleaguered Harvard professor facing student protests after inviting a white supremacist to be part of a university debate on extremism. The defence, for Charles Nichols (Julian Ovenden), is that illogical or offensive arguments need to be heard in order to be dismantled, though hand-wringing principal Amy Katz (Tanya Franks) suggests he is doing this as an attention-grabbing career move.

Paul Grellong’s intelligent if schematic play incorporates themes of cancel culture, Nazi legacies and the intersection between freedom of expression and hate speech.

The Harry Potter and Bridget Jones star is a dazzlingly versatile performer, with a string of Michael Winterbottom films under her belt, as well as Star Wars, TV’s Happy Valley and an Olivier award. She explains how she keeps on top of it all

It is easy to feel protective of Shirley Henderson on this gloomy winter afternoon. Is she warm enough? Does she want to put the heating on? “Aye, I’m OK,” she says from her home in Fife, a few strands of chestnut hair falling over her glasses as she huddles close to the laptop. “It’s a wee bit blowy out. But I’m at the age where you can get too warm, so I’m all right.” Her giggle is helium-high: the sort of sound you want to trap, like in one of those toy moo boxes, so that you can play it when you’re down in the dumps. Hearing Henderson laugh, or say “Sorry darlin’?” when she hasn’t quite heard your question makes you feel as if you’ve been cuddled.

Her allusion to the menopause, though, takes a moment to sink in. Though 58, she looks barely old enough to be online without parental controls. (No suspension of disbelief was required when she played a mother who dresses as her own adolescent daughter to sit an exam in May Contain Nuts .) Henderson came to prominence in the 1990s as one of the UK’s most probing, unpredictable character actors. After being spattered with excrement in Trainspotting, she won pivotal roles in two masterpieces: she was a soprano pining for her son in Mike Leigh’s Gilbert-and-Sullivan extravaganza Topsy-Turvy, and a feisty hairdresser smacking her lips at London life in the rhapsodic Wonderland . That was the first and best of her six collaborations with the director Michael Winterbottom , as well as the one which got her hooked on improvising.

Ustinov Studio, Theatre Royal, Bath
Bourgeois boredom is pervaded by fantasy and betrayal in these one-act plays with an astute cast including David Morrissey and Mathew Horne

Truth, lies and fantasies in long-term relationships sit at the slippery centre of these one-act plays from the early 1960s, originally written by Harold Pinter for television. The couples – straight, bisexual, jealous and betraying – are not so much engaged in power battles as playing psychological games whose terms can suddenly change. They are enacted under Lindsay Posner’s slick direction, the nervy comedy drawn out by an astute cast, without being hammed up.

The first is the simpler in its setup but more satisfying for its clever twist. A quintessential home counties couple, Sarah (Claudie Blakley) and Richard (David Morrissey), act out “adulterous” sexual fantasies with each other. The husband is the wife’s Lady Chatterley-style lover every afternoon. Then it becomes a delicious satire of bourgeois norms as they return to middle-class respectability by evening, talking about the hollyhocks in their garden.

Unicorn theatre, London
Even a cyclops can get lonely, even a parent can make a mistake … this electric rendering of the classic is for all the family as Odysseus’s son takes centre stage

‘Wallet, phone, keys, sword,” Telemachus recites to himself as he checks his pockets. Backpack on, teddy tucked in and he’s ready to go, setting off on a grand quest to find his dad. What he doesn’t reckon on is finding himself along the way.

At its highest points – of which there are many – Nina Segal’s new production of The Odyssey is electric. Made for families, Jennifer Tang’s direction delights in Naomi Hammerton’s fast-paced songs, whirling dances and moments of highly absurd dramatic images. It’s when the music slows and the pace falters that the tension drops away. But this cast approach everything with full hearts and bright smiles, so that every lag is soon followed by a new burst of energy and adventure.

Prince Edward theatre, London
The jukebox musical has gravity defying dancing and all the megahits, but it’s hard to ignore the glaringly unpleasant biographical absence

‘I want to keep this about my music,” says Michael Jackson in MJ the Musical. No surprise there. The musical, set during the rehearsal period of the Dangerous world tour in 1992 – coincidentally a year before any sexual allegations were made against him – seems to wipe away almost all the scandal that surrounded Jackson. Of course, it has moonwalks, one megahit after another and years’ worth of biography, but there’s a glaringly unpleasant absence. MJ the Musical is a sterilised swirl through the life of the King of Pop, but in reality, it is no black or white tale.

A musical recounting Jackson’s fame was always going to face an awkward challenge. First, there is the issue that every jukebox musical encounters: how to squeeze well-known songs into a succinct narrative? Then there is the itch to say something fresh about a figure who was a global phenomenon, yet also notoriously enigmatic. But these problems pale in comparison to the issue of Jackson’s own legacy. He was always a man of mystery and a deeply controversial one at that. Since the harrowing 2019 HBO documentary Leaving Neverland , it is hard to ignore the repeated allegations of child sexual abuse.