Katy Darby

It's impossible to review the stark song-cycle Ten Plagues without discussing its venue: Wilton's Music Hall, one of London's first grand halls, is every bit as scarred and decrepit as a survivor of the 1665 plague central to the piece. An ambitious one-man show, combining elements of music, theatre and opera and performed by Soft Cell star Marc Almond, this revival of Ravenhill's 2011 Edinburgh hit underlines its power.

Victorian venue Hoxton Hall marks 150 years with an absurdly enjoyable production of Leslie Bricusse's Holmes musical: Morphic Graffiti, following up 2012's Jekyll & Hyde, hit paydirt with this welcome revival into which a talented and exhaustingly energetic cast fling themselves with gusto. Slap on your deerstalker and string up your disbelief for this all-singing, all-dancing caper through the greatest Holmes case that never was.

"She pissed on me. Actual dirty yellow piss. I’m not overreacting on this one. My mother should not pee on me!" The poster quote for Sarah Kosar’s new black comedy is not at first sight especially promising, unless you’re moved to giggles by the very idea of old ladies weeing. At the Last Refuge.

According to counsellor Will, "Fine" stands for Fucked-up, Insecure, Neurotic and Emotional – all qualities that both characters in this impressively subtle and affecting two-hander display at various points in the drama. And even if a play about a screwed-up teen and her equally unhappy counsellor doesn't sound like a barrel of laughs, Fine is also surprisingly funny in parts. At The Lion & Unicorn.

Soho Cinders has been waiting a while to go to the ball – ten years or more, in fact, while writers Stiles and Drewe have been working on other musical projects, including recent West End adaptation Betty Blue Eyes. But will she (or in this case, he – Cinderella, in this version, is a rent-boy) win the love of mayoral candidate James Prince – or that of the audience? At the Soho Theatre.

Anyone who’s seen the Oscar-winning film adaptation of Kander & Ebb’s 1975 musical will find it very faithfully reproduced the spirit and style of the stage version: so why watch it in the West End? Well, any musical that’s been running for over 15 years clearly has legs – and Chicago has tits, ass, butts and abs too, plus a hit-parade of cracking songs and a razor-sharp sense of satire. At the Garrick Theatre.

Rather like its host Boogaloo Stu, Pop Magic is colourful, camp, chaotic, creative and fun; but most of all, it’s a show about you. If you’re terrified of audience interaction and cringe at karaoke, stay well away – but if you’re brave enough to step onstage, Stu can make you a pop star, and you’ll enjoy it despite yourself. At the Camden People's Theatre.

War Horse. Punchdrunk's Masque of the Red Death. Bryony Lavery's extraordinary Stockholm. Complicite and Simon McBurney's recent production of The Master and Margarita at the Barbican. What do all of these five-star, ground-breaking shows have in common?

If you love poetry (and actually, even if you're not that fussed about it) you'll find plenty to enjoy at Live Canon, where actors who have learned the verse by heart perform work by great writers, using their considerable skill to bring pieces both familiar and forgotten roaring to life again. At the Bloomsbury Theatre.

If there’s one Sherlock Holmes story that’s been done to death (pun intended) it’s The Hound of the Baskervilles: it’s been retold countless times on film, stage and TV; most recently in the BBC’s Sherlock reboot. What remains? What new spin can be brought to this over-exposed piece of the canon? Why, doing it on the radio, of course! Or rather, “on the radio” on stage…