Fast-paced, inventive, funny writing with zero filler - typical of Adamsdale's work. If memory serves, this is one of the first devised pieces to crack the Royal Court, and this is no doubt due to its on-brand vibe of mild middle-class consciousness and slight embarassment thereat. But this common Court ground is covered in a warmer, funnier and more sympathetic (and - in what may be the key point - younger) way than pervious offerings (cf. In Basildon, Love Love Love, Clybourne Park). The plot is equal part Friends and Franzen: As a promising writer tries to get out of a rut, while keeping a flat renovation on track so his girlfriend thinks he's no longer a slacker, increasingly strange things happen. The titular Victorian emerges into the 21st century flat and makes himself at home watching a DVD box set of The Wire; a Greek chorus of blokes give running commentary on the writer's attempts at small talk with his builder; calls to the local Council are made which result in action. The tone is typical of the unflashy skill and studied lack of polish one used to see in Soho Theatre comedies, and in keeping with most devised work, the realism is not so much magical as perhaps slightly stoned. After a brisk 90 minutes, you may emerge feeling you haven't learned much new about the human condition, but have rather been allowed to laugh at yourself about things you might not yet have named. It may be that Adamsdale is saying that in addition to all our shared elephants in rooms, each of us has a Victorian in our wall - a set of hidden mild neuroses which feel private, but are in fact common not just among our contemporaries, but across the ages. As C.S. Lewis once said, "Friendship is born at that moment when one person says to another: What? You too? I thought I was the only one." All of these characters are people you could be friends with - even though you wouldn't trust all of them to renovate your flat.

We haven't seen this one yet, but having swept the Olivier Awards and gotten an average well above 4 stars in both its National Theatre and Apollo incarnations, it deserves a look in.

Matilda was the best-reviewed show of the past several months, and while it's based on a Raold Dahl story, every reviewer went out of their way to say this is a great show for grownups. Catchy songs, a great villain, and an uplifting sendoff make this a great night out - and you won't have to worry about squirming next to your parents while the show gets too dark, sexy, or dull.

One Man, Two Guvnors (or OM2G as it's called in textspeak) is on its third run - and the reviews remain as strong as ever. The award-winning cast who premiered it has moved to Broadway, but the current cast, composed in part of understudies who have been internalising the rhythms of the show for over a year, has gotten several five-star reviews of relief. Some reveiewers even confess they prefer this ensemble's version to the previous one. In any event this remains a reliable bet for anyone looking for a big comedy in a big room, and the lightness of the script as well as the occasional bit of improv keep it feeling fresh and reinvented just for you.