Choice: PAUL TAYLOR

Alan Bennett's Enjoy (starring James Bolam, right) may have flopped badly in 1980 but Jeremy Sams's excellent revival at Nottingham shows that it was ahead of its time in its wry premonitions of the heritage industry. The play's surreal conceit (an elderly Leeds housewife is re- housed in a museum reconstruction of her own little back-to-back terrace) now seems anything but far-fetched. The script bristles with classic jokes (Dad describes his sex life as "No foreplay. No afterplay. And fuck-all in between.") And the ending, here spectacularly staged, is truly haunting: elegiac and satiric at the same time.

In Casement, at the Riverside, Corin Redgrave's fine performance establishes this homosexual Irish Nationalist as a richly complex, tragic figure. At the Cottesloe (final performances) Peter Brook's The Man Who... brings the mystery and dignity of the human mind into magically clear focus.