If you're the kind of spectator who watches motor racing for the crashes, horse racing for the falls and diving for the belly flops, you are probably the kind of theatregoer who gets immense satisfaction out of a play that goes wrong. Clearly, I am.
This one is a murder mystery with a country house set and a whodunnit plot.
In 2011 a group of very young, mostly teenage people held multinational corporations and some of the world's most powerful security services to ransom. And they did it from their bedrooms. They were the hacktivist cream of the online anarchic Anonymous collective.
American film director Paul Schrader had to take his clothes off to persuade Lindsay Lohan to prepare for a group sex scene in the movie, The Canyons. As there is no such scene in David Mamet's Speed-The-Plow, in which Lohan makes her stage and West End debut, director Lindsay Posner will be spared the indignity.
Every writer wants to capture something of the human condition. Few manage it. But with his production of his own play, Irish dramatist Enda Walsh takes his audience as close to mortality as any new modern work I can think of. And not, as some have done, by writing so tediously about the subject that you want to end it all anyway.
This show asks the self-deprecating question, "What do you expect from a fringe revival transfer?" It's a canny line. Forbidden Broadway exists to deflate the overblown, self-congratulatory hype that surrounds some of musical theatre's biggest hits.
Since Rupert Goold took over the reins at the Almeida a year ago, every production has felt like the coolest, most must-see show in London. Even the 25-year-old novel, American Psycho, seemed freshly minted after being given the Almeida treatment.
The title does not refer to a Top Gun battle in the sky, nor a snarling pit of canines. Rather, Benj Pasek and Justin Paul's musical, first seen in New York in 2012, is about a cruel competition conducted by a squad of American marines to date the ugliest girl.