In theory, E Nesbit’s classic story has all the ingredients and potential for a very successful stage show. There are endearing characters, nice locations and the opportunity for some amazing special effect and there is even an ending weepy enough to ensure a lot of damp hankies . . . Talking Scarlet has produced an ambitious musical adaptation which just scrapes by, but only by the skin of its teeth . . .

The bath, which dominates the stage, is used to good effect, being able to spawn and conceal figures from Grant’s damaged mind like a clever magician. The bath (a means of self-cleansing, geddit?) is, wouldn’t you just know it, blocked. Despite numerous entreaties by Penny and the liberal use of a plunger, it remains so until the end . . . Theatre Témoin is an original and innovative young company whose heart is undoubtedly in the right place . . .

Into the Breach is a tour-de-force by Mark Carey for its concept, writing and his performance. He skips effortlessly between the half-dozen, eccentric characters without pausing for breath and was a joy to watch. However, I think the play’s greatest achievement was to demonstrate that, even after 400 years, Shakespeare is accessible and relevant to us all, at all times and in all circumstances.

Ballet is often, mistakenly, thought of as elitist, difficult and serious but, as last night showed, it can be a lot of fun too. The programme consisted of four short-ish pieces, two of which could be described as playful . . . Birmingham Royal Ballet is always a joy to watch. I look forward to seeing them with a sort of childish glee of which a man of my age should be ashamed. But I’m not, I love ‘em.