The 39 Steps, Theatre Royal

This quick-fire rattle through Buchan's novel is all the stronger for its comic take, its pacey style and a light touch to tickle the funny bone. It is a smart take on a famous story which thankfully doesn't suffer from its own cleverness.

Playing with a cast of four, Tony Bell and Gary Mackay support the romantic leads of Richard Ede (as hero Hannay) and Charlotte Peters.

Charlotte Peters smoulders as the femme fatale in each scene, despite her occasionally downbeat or eccentric characters. And a word for the dashing Ede. With his pencil moustache, tweed suit and upper-crust manner, it's hard to believe anyone would mistake him for a murderer...

Charlotte's first role as Annabella Schmidt leaves her murdered by a rubber knife in the opening minutes, leading to Richard Hannay's adventures north of the border to solve the secret agent's riddle.

It is here that Bell and Mackay come into their own, veering happily between a Stanley Baxter approach and the old character actor skills of the likes of John Laurie. So versatile are they that more than once they each play two characters at the same time.

The concept throughout is simple: tell the story, turn the highlights into wonderful cameos – and have fun while you're at it.

The 39 Steps – given cinematic treatment by Alfred Hitchcock in 1935 – was first produced on stage in 1996 and this format has been so successful that it's been doing the rounds for more than eight years.

Simple but effective use of doors, window frames, smoke and ladders all make the action grippingly real while reminding us that every boys' own hero while ever-dashing must use his charm, guile and wit to win the day.

Memorable action such as the Forth Bridge rail scene and Hannay's impromptu address at the Scottish election meeting are all wonderfully replicated here, with clever direction and acting never leaving a smile very far away.

Another strength is the length of this play. It's only 90 minutes of action and this means the concept, as well as the players and their cod-Scottish/faux upper-class English accents, don't outstay their welcome. The action moves easily from Mr Memory at the Palladium to a lonely Scottish moor and we're willing to embrace the swings in tone thanks largely to the cast, entertaining from start to finish.

The 39 Steps plays all week – and if you get along, watch out for subtle nods to other Hitchcock classics along the way.

Ready for the Ashes? An Evening with Boycott & Aggers - Royal Centre Nottingham

So the good people of Nottingham were treated to the sight of Derek Randall being run out by Geoff Boycott at the 1977 Trent Bridge Test match not once, not twice but three times on the big screen at last night's pre-Ashes extravaganza.

Poor Derek. And it didn't elicit a single "boo" or hiss from the audience.

Perhaps that's because the kind of gentlefolk in the Concert Hall would have thought such a reaction as being just not cricket. Or perhaps it's because cantankerous old Sir Geoff is now something of a national treasure.

That's not to say he doesn't have skeletons in the closet... but as he freely admits: "Hold your hands up to your mistakes and move on".

Former cricketers and current Test match pundits Boycott and Jonathan Agnew are running a short tour around the UK before the Aussies hit town for the big one. The Ashes start in Nottingham on Wednesday and for those who, like me, are going along for a few days, this show was a must-see treat.

It's good for the soul hearing the former Yorkshire batsman (or batter, as they say these days) sound off about contemporaries and present-day players. Whatever you think of his opinions, you can't argue with his summing up after each memory, which goes something along the lines of "Well they're not as good as I was." (He went on to score over 100 after running out poor Randall).

He recalls playing alongside former umpire Harold "Dickie" Bird and journalist Michael Parkinson in their younger days, and answered audience-inspired questions about the best this, the top that, and what he thinks might happen this summer.

It was a great and welcome surprise to see former Australian fast bowler Jeff Thomson as special guest in the second half, playing to type with recollections spattered with slightly more unsavoury words than the northern hemisphere contributors might have used.

Another special guest was former Notts and England opener Chris Broad and his daughter Gemma, a performance analyst with the England squad. They were there to add their own insight into the Ashes summer, as well as drum up support for the Broad Appeal for Motor Neurone Disease, which claimed Chris's wife Miche.

A barnstorming performance from all concerned and a great appetiser for cricket fans.

Ready for the Ashes? We are now!

For the Love of Mrs Brown, Nottingham Arena

Almost exactly two years ago to the day, a foul-mouthed old Irishwoman took to the stage in Nottingham on what was to be a voyage of discovery for performer and audience alike.

Yet it remained to be seen if Mrs Brown's Boys, recorded live on stage for the television and which came to Nottingham in 2011 in the cosy confines of The Royal Centre, could make the leap of faith to an arena setting.

The Mrs Brown show has won a couple of Baftas in the meantime and obviously appeals to the masses too, judging by its continued small screen success. After all, we can all identify with everyday family life – and, most crucially, with the comic creation of Mrs Brown herself.

This was clear from the teeming crowds at the Arena for the first Nottingham show last night. Fans simply adore the whole cast. They don't merely watch and laugh... they gasp, wince and worry through with the flimsy plot, a vehicle for laugh after laugh after laugh.

For anyone who doesn't know, Agnes Brown is the result of the comedy genius of Brendan O'Carroll, who dons authentic drag to transform himself into the famous Dublin 'Mammy' and performs alongside his screen family, who – in many cases – are members of his actual family.

Confused? You won't be. It's straightforward obvious comedy, varying from the subversive – nudges, winks and innuendo – to blatant out-and-out potty-mouthed bad language.

In this new show we touch upon his flamboyant hairdresser son (obvious enough for you?), the vagaries of plastic surgery for a daughter who can't find love (which part of the body do you suppose?) and then there's granddad's addiction to Viagra. Not forgetting Agnes's own quest to find an online Valentine date.

And yet the audience loved it. Perhaps it is that we are in on the secret with O'Carroll, who confides in the audience in a series of asides while the comedy action is played out on stage. He pulls faces, rolls his eyes; tries to make the rest of the cast forget their lines.

If Agnes was real, she'd be a comedy uncle-turned-aunt who wants to liven up the family gathering. And O'Carroll must be good as he makes it all look so very easy to do.

So did the big screens each side of the set kill the live show? Not a chance. Forget the fact that die-hard fans will have heard many of the gags before: it was as though the whole room was watching TV together, enjoying the sharing of a communal moment. Perhaps reminiscent of the Olympics, or the Jubilee. Or perhaps not.