How does it feel to be forgotten by the world, asks the publicity blurb for ‘Myanmar Diaries’ - a reasonable question for a pro-democracy struggle that’s been shoved from headlines in many parts of the world.

‘Silence Heard Loud’ ought to be a happy film, because it’s about people who have escaped harrowing — in some cases deadly — circumstances and lived to tell their tale.

Almost four years since Dipo Baruwa-Etti was commissioned to write An Unfinished Man, and 13 drafts and two Covid years since it was initially due to open, it’s here. And it’s worth the wait.

Three generations of a Caribbean-British family. - a family drama of love, loss and hope.

Any play that uses the words of Indian anti-caste campaigner B R Ambedkar and British women’s rights campaigner Sylvia Pankhurst gets my vote.

Football, babes and fit boys, racism and identity – spicy ingredients mixed with a light touch in Eng-Er-Land, a one-woman, one hour, coming of age tale.

Fittingly for its title, Conundrum is a play that’s simultaneously too much and too little.

“ I go to all my son’s hangings,” says the executioner’s mother in their small Mexican town.

It’s not surprising that Rare Earth Mettle sparked controversy even before curtain up on the first night.

Because Britain’s foreign interests and influences continue to largely follow colonial lines, South America doesn’t get much of a look-in compared with South Asia or East and Southern Africa.

Set in military-ruled Argentina in the late 1970s, Azor is a thriller with little action and no thrills – but plenty of chills.

Yellowfin is a hoot - a funny, brilliantly acted play about what to do with one of the last remaining cans of tuna on Earth, in the wake of the sudden disappearance of fish from the seas.

Malindadzimu starts as a sharp-tongued Zimbabwean-British mother-and-daughter clash and ends as a drum-beating, foot-stomping spiritual African rebirth.

African women dominate the double-bill at the Arcola’s outdoor theatre, and Nigerian and South African men don’t cover themselves in glory in either play.

Is this story relevant, asks Diane Page, director of the revival of Statements After An Arrest Under the Immorality Act, set in apartheid South Africa and revived at the Orange Tree Theatre.

Sabaya is the first Yazidi thriller. And it has a particularly powerful —and upsetting — impact because it’s a documentary.

Silent Voice is a claustrophobic, intense documentary about a few tormented weeks in the life of a Chechen refugee whose face cannot be shown and whose voice cannot be heard.

With travel still iffy, the Royal Geographical Society’s Earth Photo exhibition offers a chance to glimpse aspects of the world without leaving London.

Lava starts as a migrant’s story and ends as an affirmation of black humanity. Sadly, both migration (“We didn’t have a lot, but had the means of making a home elsewhere”) and racism still need passionate advocacy.