The elephant in the room in Anoushka Lucas’ excellent one-woman show at the Bush Theatre is the piano.

During the 1991 Gulf War Maysoon Pachachi  was in London and recalls that “watching the news, I never saw one ordinary Iraqi person on screen. They were absent.”

Time has got tired, says a character wearily in Utama, and director Alejandro Loayza Grisi has filmed it.

A film looking at two generations of Hong Kong demonstrators is a good idea, but Blue Island doesn’t quite pull it off.

There’s more than one way to skin a cat, and there’s more than one way to talk about migration.

The documentary Name Me Lawand pulls your heartstrings every which way to tell the story of a deaf Iraqi Kurd who is taken to Britain by his family.

A migrant’s occupation was set by who picked you up at the airport, recalls a Korean-American in the documentary Liquor Store Dreams.

In the Caribbean village behind God’s back lives a cheesemaker who has a notion that there’s more to the world than an island paradise. And that means trouble.

Jeremy Corbyn and the Royal Court Theatre are two of the targets in Jews. In Their Own Words.

The subject of The Apology is hard to think about, but the play looks at a terrible truth and truths should not be ignored or forgotten.

There’s a lot to be said about the William Kentridge exhibition at the Royal Academy. But the main point is: it’s brilliant.

The P Word is about two gay men of Pakistani origin, one of them British, the other an asylum-seeker - and what happens when their lives accidentally collide.

“Stop cuddling that smelly baby! She’s sick.” Hla has a tough love approach to midwifery.

Two expat Ghanaians meet in London, one takes a photo of the other and they have a conversation. Doesn’t sound like much of a play. But Drum is a delight

Shakespeare’s 10 “history plays” are part of Britain’s school syllabus: the 1947 Partition of India isn’t. It should be.

“Chasing Hares is a love letter to all of the organisers, activists and dreamers”, says playwright Sonali Bhattacharyya.

The “content advice” for The Darkest Part of The Night lists “Death of a parent, racial discrimination, police brutality/violence, poverty, structural oppression, ableism, detailed medical talk, mild sexual references, domestic violence, mental healthcare system.” It’s actually about love.

Migration dramas - particularly first-generation questioning of their parents’ attitudes - are a rich vein in London theatres.

A second explosion of African colour and creativity is lighting up London, as Africa Fashion at the V&A joins In The Black Fantastic at the Hayward Gallery.

There’s no escaping race in The Fellowship, a drama about three generations of a British Caribbean family.