"Having these six munitionettes tell the story adds a theatrical quality to the play in a play that provides a lot of fun."

Getting its first staging for three decades, Tony Harrison's World War I-set play Square Rounds is based on true events and explores the devastating impact of chemical warfare and weapons of mass destruction.

Jimmy Walters in rehearsal with the cast of Square Rounds. Photo: Samuel Taylor

Director Jimmy Walters talks about its relevance today and paring the play down for an intimate performance space.

Square Rounds was last performed 30 years ago at the National Theatre, why is it ripe for revival?

It feels more relevant now than it was in 1992 in some ways. It tackles gun control, the power of trigger-happy populist rhetoric and addresses the ongoing conflict between the ideologies of Christianity and Islam.

It has an all-female cast, what dynamic does that add to the play and storytelling?

We open with six munitionettes in a factory. At the very same time, these women were taking on the roles of men they go one step further and play the men with a bit of magic involved.

Having these six munitionettes tell the story adds a theatrical quality to the play in a play that provides a lot of fun.

There is often a lot happening and sometimes it too easily diverts attention from the central narrative.

I'm watching the O'Donnell family's voluntary mute, aged uncle slowly peel away wallpaper at the of the back of the stage when I should be listening to whoever is speaking.

Later an imaginary game of croquet will similarly distract me.

This is my problem with Aristocrats, there is often a lot happening and sometimes it too easily diverts attention from the central narrative.

Family past its peak

Brian Friel's play is about a fading Irish aristocratic family with its domineering patriarch is on his deathbed, cared for by the eldest daughter Judith (Eileen Walsh).

The family has gathered for the wedding of youngest daughter, Claire (Aisling Loftus) with her siblings Alice (Elaine Cassidy) and Casimir (David Dawson) having travelled from homes abroad for the occasion.

Tom (Paul Higgins), a visiting American scholar, is interviewing the family for a research paper on Irish aristocracy and acts as an independent observer and, through his seemingly innocent conversations and questions, commentator.

Fresh from Edinburgh Fringe: The Political History of Smack and Crack draws on writer Ed Edwards' own experience of narcotics dependency to examine how the politics of the 80s trapped people in poverty and addiction.

Ed Edwards

Here the former circus performer talks about the importance of entertainment in theatre ahead of the play's London run at Soho Theatre.

Why is this an important story to tell?

In the political sense, I think it's a question for the progressive movement of knowing your enemy, of course, the enemy changes its face, but its heart remains the same. This is what they did then, what lengths will they go to now? It's a question too of spreading ideas, keeping the truth alive - it's part of what Fidel Castro called for before he died: a battle of ideas.

How important is humour when exploring serious topics such as drug addiction and what part does it play in the narrative?

I think entertainment is the most important thing, humour is a big part of that, but it doesn't mean you can't make people cry too.

You’ve written novels, for radio and TV as well as the stage but you used to be a circus performer - how does it compare?

It's a lot safer writing plays than juggling fire on a slack rope while talking to an audience - but probably not as much fun. Seriously, it's part of what I was saying before, about entertaining an audience.

If you're doing a circus show in Huyton Liverpool and you don't entertain the audience, the kids'll come and take your gear, so I've kind of grown up thinking that was important.

It all adds up to make a play that is entertaining, powerful and refreshingly broad and detailed in its female narrative.

Clare Barron's play Dance Nation at the Almeida not only sees life through the female lens it touches on subjects that are generally treated as taboo.

On one level it's a play about a dance troupe of 13-year-olds (six girls and one boy) preparing for a big competition and the rivalry between the two strongest dancers Amina (Karla Crome) and Zuzu (Ria Zmitrowicz). 

It follows their friendships, arguments and how they cope with the pressure to perform. 

Speaks for women of all ages

But underneath it is a play that speaks for women of all ages, exploring female sexuality and the female experience in contemporary western society.

It sets out its stall in having the girls played by women of all ages, performances which could be comical if handled wrong but there is nothing pastiche here instead they are perfectly pitched to straddle tween innocence and adult experience.

August was dominated by Edinburgh for me but the London theatre wheels were still turning; here's my round up of my favourite bits of news, my theatre hits and misses and few celeb spots...(let me know if I missed anything while I was north of the border).

Sally Field and Bill Pullman in All My Sons, Old Vic - yep Hollywood comes London theatreland next year in a co-production with Headlong (Jeremy Herrin directs). No dates yet but already I can't wait. 

National Theatre's artistic director Rufus Norris steps into the breach - there has been a spate of understudies and theatre staff saving the day when actors are indisposed but last night's performance of Home, I'm Darling saw Norris take to the stage to play Jonny for Richard Harrison.

Foxfinder full cast - You may have missed my July round-up (I did) which (would have) mentioned that Iwan Rheon and Heida Reed had been cast in Foxfinder at the Ambassadors Theatre, well joining them is Paul Nicholls and Bryony Hannah. It opens for preview on September 6.

The Wild Duck, Almeida - Fans of Robert Icke rejoice, he returns to the Almeida with a production of Ibsen's The Wild Duck. Speculation has already started about who will be in the cast.  Opens October 15.