You can’t get a quart into a pint pot, according to an old saying. But the Jermyn Street Theatre has disproved it twice over.

An exhibition of textiles? Nah - too boring. Where’s the drama and danger in sewing and thread? If that’s your reaction, and you don’t bother to see Unravel, The Power and Politics of Textiles in Art, you are making a big mistake.

The ever-provocative Yard Theatre’s latest production was such an instant success that after a few performances its run was extended by a fortnight. Those early audiences were right: Rhianna Ilube’s 90-minute play is hugely entertaining.

Current exhibitions by Black artists show how they have fought their way into Western art, but the latest show — The Time Is Always Now: Artists Reframe The Black Figure — illustrates how many still feel the need to fight the old battle.

A caption in the Royal Academy’s new blockbuster exhibition, Entangled Pasts, 1768 - Now: Art, Colonialism and Change, reveals what the institution is trying to escape from: “The Royal Academy’s President from 1924 to 1926 [Frank] Dicksee insisted “our ideal of beauty must be the white man’s.”

Rewind is a disturbingly powerful and moving one-hour production that makes disinterred bones speak.

No, it makes disinterred bones cry out for justice.

Hidden Letters sets the context for its examination of Nushu -- a secret text among women in China’s Human province – by images of foot-binding: breaking and tightly binding the feet of young girls.

Myanmar is among the also-rans in the UN’s international development rankings, but as the new British Museum exhibition, Burma to Myanmar, reminds us it once had an empire and was wealthy.

Talking About The Fire is the latest in a newish genre: one-person shows about serious topics, such as global population, worldwide animal extinction,  and climate change. Now we have a show about nuclear bombs.

The drama mounts to a crescendo as rules are broken and the arguments between the characters become increasingly heated. Suddenly the confusion climaxes in a moment of family violence: mum flips the Cluedo board over, sending the pieces flying.

First came The Swimmers - a flashy dramatisation of the adventures of the Syrian sisters who risked their already endangered lives by jumping from an overcrowded refugee boat and pulling and pushing it for three-and-a-half hours to safety in Lesbos.

“There’s this song by Dolly Parton, called my Tennessee Mountain Home,” says the man in the dusty African village, “and when you listen to that song it’s like Dolly Parton was telling the story of my life.”

“The woman I’m about to interview is from The Philippines, which is considered a safe country,” explains the Home Office interviewer, “so see what you think - and don’t be too soft. We have a bit of a joke in the office — if you’re seen as too soft you’ll find the office teddy bear on your desk.”

Jihad is a mid-20s Brit of South Asian origin. He wants to be a journalist. But his career never takes off (“I got nothing to show for it”) until he enters a competition.

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.”

Goodbye Julia Is perfect proof that the personal is political.

A teacher asks his young class what what they should model today. A tank, suggests one. A rifle, says another. “No,” responds the teacher, “I don’t like objects of war.”

You want an action movie? Forget Superman or Wonder Woman. Watch Mambar Pierrette.

It could have been bad taste to make a film about making a film at the time of the cataclysmic 2020 chemical explosion in Beirut that killed 218, injured 7,000, caused $15 billion property damage, and made about 300,000 people homeless.