As we approach the centenary of equal franchise in 2028, it is important to build on the rights that were won by the suffragettes, writes Helen Pankhurst

There was a proud Pankhurst in the audience in Leicester as Sylvia: A Musical Revolution began its national tour (Suffragette cities: blazing Sylvia Pankhurst musical hits the road – in pictures, 3 October). A blazing show indeed – and one that, 98 years after women gained the vote on equal terms with men, asks how much remains to be done, how to do it and how women can bridge their differences to advance their common cause.

As Sylvia Pankhurst’s granddaughter and Emmeline Pankhurst’s great-granddaughter, I honour both women. Their political paths diverged. I seek to reconcile their legacies through Centenary Action, the cross-party coalition that I lead, in a shared cause: dismantling the barriers to women’s participation, selection and retention in politics.

Charing Cross theatre, London
Büchner’s jagged masterpiece about a soldier’s descent is told with enchanting and stirring songs that occasionally defuse its stark terror

When Georg Büchner died aged 23 in 1837, he left behind Woyzeck as a bundle of papers that would be ordered and reordered for years to come, eventually discoloured by treatments used to decipher the playwright’s handwriting. His two dozen scenes, with a handful of extra fragments, form a tragic patchwork that is mirrored, in this musical version, by a similar number of stained pieces of cloth stitched into the stage curtains and by the 27 folk songs that thread the story together.

It remains the downfall of Franz Woyzeck, a desperate soldier sinking into madness who grows suspicious of his partner, but – as the first names of its romantic title suggest – the story seeks to better understand both characters. Büchner’s Woyzeck suffers from visions and hallucinations; here they are joined by traumatic battlefield flashbacks. Franz was a war hero, says Marie admiringly, adding a courageous backstory to Büchner’s downtrodden squaddie and suggesting that she sees a glimpse of Franz’s former vigour in the drum major (here named Varg) who brazenly pursues her. In the play, that leads to an affair, but the musical’s Marie fights off Varg when he attempts to rape her and it is the rumours of infidelity that accelerate Franz’s frenzy.

A musical about a drama group’s pilgrimage and reflections on activist art join an intriguing show about lost languages

In a Dublin theatre festival programme tackling heavy themes of racism, conflict and prejudice, Lourdes! The Musical (★★★★☆) promises something effervescent. Xnthony Ltd, the creators of Oliver Cromwell Is Really Very Sorry, have turned their lightly quizzical gaze to the French pilgrimage town – “a holy Blackpool, a divine Las Vegas” and a site of hope or desperation for five unlikely travelling companions.

Back in his home village in “Countryland”, in 2008, following a diagnosis of HIV that punctures his dreams of Los Angeles, singer-songwriter Matthew (Riain Cash) lends his star power to a parish drama group taking a musical about Saint Bernadette to Lourdes. Interweaving this show-within-a-show and the pilgrimage strands, Xnthony’s lyrics and Matthew Floyd Jones’s score blend pop, club beats and soulful ballads. Directed by Sarah Meadows, the supercharged ensemble joining Cash as, variously, a droll priest (Iestyn Arwel), a terminally ill mother and her transgender daughter (Nichola MacEvilly and Danielle James) and an eager tour manager (Molly Lynch) carry the music’s tonal shifts effortlessly.

Peeing in the sink he shared with Derek Jacobi, making a badger video with Brian May, climbing Everest with Alan Hinkes … as the great actor blasts into his 90s, stars celebrate his ‘loudness and madness’

Emma Thompson