Theatre review: Testmatch

As football plays have proven on multiple occasions, I don't have to be interested in a sport to enjoy a piece of theatre about it. Still, you've got your work cut out for you if the sport in question is cricket, even if it's not remotely the real subject of the story being told, like in Kate Attwell's Testmatch, set during a one-day match between England and India at the women's cricket World Cup. India are the bookies' favourites and have briefly managed to make a good start before rain stopped play; three women from each team are waiting together to hear if, or more likely when, the match is going to be called off because of the flooded pitch. England 2 (Mia Turner,) recently dumped by the England men's captain, would like to talk about why rugby boys are much better shags than cricket boys anyway, and India 3 (Tanya Katyal) is just disappointed because she loves the game so much she hates to miss out.

Theatre review: Private Lives

The Donald and Margot Warehouse has been one of the high-profile venues to lose all its funding in the latest round of cuts, so we can probably expect a few seasons of familiar faces and titles to help keep the lights on. A David Tennant Macbeth has already been announced, and in the meantime a combo deal of Stephen Mangan, Rachael Stirling and one of Noël Coward's most popular plays has provided a much-needed sell-out hit. But at least Michael Longhurst's production defies expectations in other ways, with a Private Lives not quite like the ones I've seen before. Elyot (Mangan) is on honeymoon with his second wife Sibyl (Laura Carmichael,) who's 17 years his junior and only first met him a few months ago. So maybe she should have asked him a few questions earlier, as she's particularly intrigued by his first wife Amanda and their divorce.

Theatre review: Europe

I first went to the Donald and Margot Warehouse during the Sam Mendes days, so I'm on to my fourth Artistic Director of the venue as Michael Longhurst starts his tenure by directing Europe, a 25-year-old David Greig play whose original inspiration was the breakup of Yugoslavia but whose nebulous, borderline-surreal setting makes it feel timeless. The town where the action takes place is never named, but it's somewhere in Europe, close to a national border but otherwise pretty remote and easy to ignore. Even easier, soon: Trains going to every corner of the continent pass through, but all of a sudden they don't stop at the local station. Station Master Fret (Ron Cook) can't figure out the new timetable he's been sent, not realising the fact he can't find when the trains are meant to arrive is an underhand way of telling him the station is closing.

Theatre review: King Lear (Shakespeare's Globe)

It's likely to be overshadowed very shortly by Ian McKellen's return to the title role, but the Globe's production of King Lear delivers a clear, if not particularly distinctive telling of the story. Kevin R McNally plays Lear, a king who decides to go into retirement, hoping to maintain all the perks of rule with none of the responsibilities. It doesn't work that way though, as he discovers when he divides his kingdom between his older daughters Goneril (Emily Bruni) and Regan (Sirine Saba,) cutting off his youngest Cordelia (Anjana Vasan) when she fails to flatter him to his liking. Inevitably he finds he's trusted the wrong daughters and as his mental and physical health start to deteriorate he's cast out into the wilderness, while around him storms rage and England breaks out into civil war.

Theatre review: Killology

Playwright Gary Owen is making a niche for himself as the very disturbing voice of a dispossessed underclass, as well as being, presumably, the Welsh tourist board's worst nightmare, giving us as he does a Wales that's an almost apocalyptic wasteland stalked by feral gangs. These gangs are the bane of Davey's (Sion Daniel Young) life growing up, and occasional incidents of horrific violence shape who he becomes as a teenager - fighting back against the bullies doesn't work so he learns to pick on those weaker than him himself. But there's even worse violence waiting for him, and this time he's unlikely to survive to continue the cycle. On the opposite end of the social scale, entirely fictional violence has shaped the life of Paul (Richard Mylan,) the designer behind a hugely successful computer game, Killology, which skips the fights of traditional beat-em-ups and goes straight for the kill, with the most creative and sadistic ways of killing opponents gaining the most points.

Theatre review: The Winter's Tale (Sam Wanamaker Playhouse)

The Swanamaker's first all-Shakespeare season opened, very successfully, with two of his least-performed plays, but its second half brings two late plays that are much more popular - if not always with me. The regularity with which The Winter's Tale is revived is something I find a bit baffling, but every so often a production comes along to justify its popularity and, except for an overly hefty running time, Michael Longhurst's definitely fits into that category. John Light is Leontes, the king of Sicilia who's been best friends with his Bohemian counterpart Polixenes (Simon Armstrong) since childhood; until for no reason at all, he becomes convinced his wife Hermione (Rachael Stirling) is cheating on him with Polixenes, and tries to have both killed. He doesn't come back to his senses until it's too late, and has seemingly lost all his family. But his baby daughter has in fact survived and 16 years later Perdita (Tia Bannon) has the chance to make things right between the royal houses with her romance with Polixenes' son Florizel (Steffan Donnelly.)

Theatre review: Viva Forever!

They've been calling Viva Forever!, the latest jukebox musical to hit the West End, Viva For The Next Couple Of Months, although with the Piccadilly Theatre absolutely heaving tonight maybe it'll do a We Will Rock You and defy the critics. Album Tracks: The Musical is the nickname that came more to mind as I watched this bizarrely misfiring musical based on the music of the Spice Girls. I usually steer clear of jukebox shows but I guess what made me book for this one is that there's something really fun about Spice Girls songs, that made me figure that even if it was a bit of mess it should at least brighten up my evening. So perhaps the most disappointing thing about Jennifer Saunders' clusterfuck of a book is its utter mechanical joylessness. A by-the-numbers X Factor parody jostles with a shameless Mamma Mia ripoff to create a mass of loose ends that doesn't even segue into the songs particularly well.