Theatre review: Every Day I Make Greatness Happen

Launching Hampstead Theatre's autumn season Downstairs is a play by high school teacher and comparatively new playwright Richard Molloy. Sticking to the tenet of writing about what you know and reaping the results, he sets Every Day I Make Greatness Happen in a little-used, leaky-roofed classroom in a North London school, where students are not allowed to join the Sixth Form unless they've passed their English GCSE. For three students who failed it, the Head of English, Miss Murphy (Susan Stanley,) has agreed to coach them through a re-take while they also take their AS-level classes. They have six weeks to make their second chance count and be allowed to stay on. Iman (Josh Zaré) is timid and nerdy but a bit slow, and has spent the last five years at school being relentlessly bullied by Kareem (Moe Bar-El.)

Theatre review: Alligators

A different kind of paranoid thriller to Wild Upstairs, Downstairs at Hampstead Andrew Keatley's Alligators snap at a man in his own home. Teacher Daniel (Alec Newman) has an enthusiasm for his job that most teachers lose much earlier in their careers, but when a sudden allegation comes out of nowhere, suspicions form about whether his real enjoyment of the job is more sinister. After getting suspended without explanation, Daniel eventually discovers that a former pupil has accused him of various sexual assaults when she was 14. He has to defend himself to the police as the allegations rise and everyone from anonymous Facebook groups to the Daily Mail try to out him before he's even charged with anything.

Theatre review: Tomcat

After a few years based at the Finborough, the annual Papatango playwrighting prize has moved to a new home with roughly twice the seating capacity, in Southwark Playhouse's Little space. This year's winner, James Rushbrooke, taps into the current trend for plays about science with Tomcat. In a not-too-distant future, genetic screening of foetuses has resulted in the eradication of most illnesses, but at the cost of roughly one in four pregnancies being terminated - a legal requirement if a scan finds anything out of the ordinary. A subculture does exist that rejects this degree of state interference, so there are a few exceptions - one of them is 12-year-old Jessie (Eleanor Worthington-Cox,) who's been kept under observation by the authorities since they discovered her at the age of three. She's lived in the same windowless room since then, forbidden from touching people or making any sudden moves: According to her genetic makeup, she might be a psychopath.

Theatre review: Almost, Maine

Earlier this year we saw Our Town arrive in North London, a rare visitor to these shores but one of the most performed plays in America. It seems in the last decade it's acquired a new rival though, John Cariani's Almost, Maine having apparently already notched up over two thousand productions in the US despite only premiering in 2005. I can see how it would be popular for local and amateur companies - it's another slice of small-town Americana with a large collection of characters, although as the majority of scenes are two-handers Simon Evans' UK premiere production can manage with just three male and three female actors playing all the roles. A portmanteau rom-com along the lines of something like Love, Actually, Almost, Maine takes place in a cold winter in the titular Northern Maine town - although as its name suggests it's almost-but-not-quite a town, a vaguely-connected community that's never quite got its act together enough to formalise its borders.