Theatre review: Dead Dad Dog

John McKay's short play Dead Dad Dog was a hit in Edinburgh in 1988, leading to a quick London transfer to the Royal Court. Liz Carruthers' revival at the Finborough was meant to be the opener in a double bill, as McKay has written a present-day sequel, but due to cast illness the latter has had to be cancelled, leaving us with just the original, a slight supernatural comedy in which 22-year-old Alec (Angus Miller) is preparing for a big day: An interview for an apprenticeship as a BBC Scotland producer, followed by a hot date. But his preparations are interrupted by the arrival of his father Willie (Liam Brennan,) who died 12 years earlier. The ghost has been sent back from heaven for a short while to spend time with his son - he didn't request the visit and doesn't know why he was granted it. Alec is saddled with a ghost who to all intents and purposes seems alive - everyone can see him, and he'll need feeding.

Theatre review: The Firm

Roy Williams was last at Hampstead Theatre writing about the police; now he comes to the Downstairs space with a look at the other side of the law. Gus (Clinton Blake) was once the leader of The Firm, the brains behind one of South London's most successful gangs of robbers and the only one of them never to be caught and jailed. Now pushing fifty they've all pretty much left that life behind them, and true to form Gus has had the most success since going legit: The play takes place in a wine bar he's about to reopen, one of a number of investments he owns. He and right-hand man Leslie (Jay Simpson) are preparing a party for Shaun, the last of the gang to still be in prison, to celebrate his release. Trent (Delroy Atkinson) and Selwyn (Clarence Smith) soon join them, but there's no sign of the guest of honour.

Theatre review: A Day by the Sea

Southwark Playhouse’s publicity is keen to label rediscovered 1950s playwright N C Hunter as “the English Chekhov,” and if A Day by the Sea is a fair representation of his work it’s a comparison he would have been actively seeking. There’s a family and extended group of hangers-on, reuniting at a home in the country; wistful hopes that generations in the future will have eradicated the problems that plague its characters daily; the characters moping around long after the story’s come to a natural end; and even the requisite alcoholic doctor. As a child, Frances Farrar was taken in by the Anson family in Dorset when she was orphaned, but while she remembers her time there happily she more or less lost touch for twenty years after she moved out. Now, widowed from her first husband in World War II and divorced from her second – who then attempted suicide – Frances (Alix Dunmore) is invited back there with her own children for the school holidays, to sit out the scandal.

Theatre review: The Cutting of the Cloth

After a couple of explosive shows to open the year, things get very low-key in Southwark Playhouse's Large space with the posthumous premiere of Michael Hastings' The Cutting of the Cloth. The setting is the basement workshop of a Savile Row tailor's in 1953, where Spijak (Andy de la Tour) and his daughter and "kipper" - a tailor's female assistant - Sydie (Alexis Caley) make a suit or two a week, lovingly hand-stitching all but a single seam. He prides himself on the quality of his work, but Eric (Paul Rider) and his kipper Iris (Abigail Thaw) machine-sew everything, making twice as many suits and taking home twice as big a paycheck. The two men have a family history, and they take out their personal frustrations with each other by having regular arguments over their very different ways of working.

Theatre review: Summer Day's Dream

We open on a rustic scene, two old men who look like they work with their hands dozing in a farmhouse. What looks like a Victorian rural setup isn't the past though but the future - or at least the future from the perspective of 1949, when Summer Day's Dream premiered. J.B. Priestley's play takes place in the post-apocalyptic England of 1975, Britain having been worst affected by the Third World War, which ended with an atomic bomb sending the island back to pre-industrial times. A couple of decades on and the country has found a new life as an agricultural society with a mostly barter-based economy. In the old order Stephen Dawlish (Kevin Colson) was a wealthy factory-owner, but now the 80-year-old's country mansion is a farmhouse, and he and his family happily work the land, exchange goods for what they need, and entertain themselves in the evening with music, poetry and amateur dramatics.

Theatre review: The Moment of Truth

A bit of a rarity in the temporary Southwark Playhouse's Large auditorium, as the playwrighting career of Peter Ustinov is dusted off with Rob Laycock's revival of his 1951 play The Moment of Truth. Inspired in part by the collaborators during the Nazi occupation of France, it takes place in an unnamed country whose days of military glory are far behind it, and is now being attacked by a powerful enemy and betrayed by its allies. In the face of his ministers' denial, a brutally pragmatic Prime Minister (Miles Richardson) accepts the inevitable and begins plotting how to spin this to everyone's advantage. When The Victor (Damian Quinn) finally arrives at his office demanding surrender, the Prime Minister instead offers him a deal: He and his Foreign Minister (Mark Carey) will collaborate, keeping some vestiges of power for themselves, while making the Victor's ruling of a hostile population easier. Their little coalition will hide behind a puppet dictator.

Theatre review: I Didn't Always Live Here

Among its many other strengths, the Finborough Theatre is increasingly punching above its weight with its set designs, coming close to challenging the Gate for how ambitiously you can transform a seemingly restrictive space. This time, resident designer Alex Marker has managed to fit two storeys of a Glasgow tenement into a room above a pub. Written in 1974 and receiving its first revival since 1973, Stewart Conn's memory play I Didn't Always Live Here looks at two elderly women in adjoining flats, but focusing in particular on the lovable, bubbly Martha (Jenny Lee.) Housebound by her arthritis, and with only the occasional visit from a community volunteer (a beehived Alice Haig) and the local minister (Joshua Manning,) Martha spends much of her time talking to her pet budgie.

Theatre review: Saer Doliau

It's unusual to see a play in London performed entirely in Welsh but not, as it turns out, quite as unusual as the play itself. Gwenlyn Parry's 1966 play Saer Doliau (Doll Mender) plays the Sunday-Tuesday slot at the Finborough, and Alex Marker's 1930s office set for London Wall changes convincingly into an isolated workshop by replacing the legal documents on the shelves with broken dolls and tools, and covering the floor with wood shavings. Here Ifans (Seiriol Tomos) works mending broken dolls, all of which he's named. The workshop doesn't have electricity, but it does have a phone from which Ifans often calls his boss to complain about his working conditions. There's also a mysterious "Him" in the basement, whom Ifans suspects of invisibly walking through walls at night and stealing things. The only time the basement door is unlocked is if a black doll arrives - refusing to mend them, he throws them down to Him.

Theatre review: London Wall

John Van Druten's London Wall is an ensemble comedy-drama set in a solicitor's office, casting a particular eye on what working life was like for women in the 1930s. Office manager Mr Brewer (Alex Robertson) has tried his luck with most of the typists - currently he's got his eye on newcomer Pat (Maia Alexander,) who doesn't heed the warnings of Miss Janus (Alix Dunmore.) 35 and engaged for 7 years to a foreign diplomat who seems to have lost interest, Miss Janus herself is afraid of becoming an old maid and being stuck in this low-paying job all her life. Meanwhile Miss Hooper (Emily Bowker) is seeing a man who swears he'll leave his wife for her, and Miss Bufton (Cara Theobold) doesn't mind being seen on a different man's arm every night. The personal crises that intrude on office life give a picture of women who may be more independent that the generation before them, but still have to rely on the hope of marriage as an escape from poverty.

Theatre review: Outward Bound

Outward Bound sees the Finborough's stage configured, by designer Alex Marker, into a similar in-the-round setup as last year's Accolade, with several audience members effectively on the stage. Though why this made some of these audience members feel free to leave their drinks on the set and even, on more than one occasion, move some of the on-set chairs around, I don't know. (Actually that's not true, the occasional loud cackles and strong smell of red wine gave me a pretty strong clue as to why.) Still, it wasn't bad enough to spoil the performance. The Finborough's latest "rediscoveries" season opens with another play, like 2010's Quality Street, that was a massive West End and Broadway hit in its day and spawned multiple film adaptations, but at some point fell out of favour and into obscurity: This is the first London revival of Sutton Vane's 1923 play in half a century. (The playwright's real name was Vane Sutton-Vane, which means a nice tie-in to this week's double-barrelled theme. It also means he's so Vane, he probably thinks this song is about him.) There are some pretty obvious reasons why Outward Bound's marketability has faded, but they don't mean the production's not enjoyable on its own terms.