Swearing, sex talk, insults, epithets, rivalry: a group of World Cup players row, spill secrets and get on each others’ nerves. These women are all Indian and English cricketers, and their shared impatience make for a lively first act of Testmatch at the Orange Tree Theatre in Richmond.

Tomorrow’s Freedom is the optimistic title of a new documentary about Palestine’s “Prince of Freedom” aka “Palestine’s Nelson Mandela”, Marwan Barghouthi.

Tender, humorous, innocent, fresh, romantic, touching - yes, Nezouh is another film on the conflict in Syrian and the risk of dangerous escape routes to Europe.

US actor Stephen Tobolowsky got it right when he said: “I had never before heard of Agathe. Now I will never forget her.”

The yawning gap between those who raise ethical questions about museum exhibits and those who see only value-free objects devoid of political or social context caused uncomfortable ripples at the media preview of Ranjit Singh: Sikh, Warrior, King.

‘Nominative determinism’ is the idea that people tend to gravitate towards areas of work that fit their names. So perhaps it’s not surprising that Congolese rapper Baloji’s first film is Omen.

Who knew? About the 1860s Indigo Rebellion that forced British planters out of Bengal?

Tropical Modernism: Architecture and Independence is not a blockbuster exhibition that will draw large crowds. Will anyone uninterested in Ghana or India in the 1960s pay £14 for a peep?

You can’t get a quart into a pint pot, according to an old saying. But the Jermyn Street Theatre has disproved it twice over.

An exhibition of textiles? Nah - too boring. Where’s the drama and danger in sewing and thread? If that’s your reaction, and you don’t bother to see Unravel, The Power and Politics of Textiles in Art, you are making a big mistake.

The ever-provocative Yard Theatre’s latest production was such an instant success that after a few performances its run was extended by a fortnight. Those early audiences were right: Rhianna Ilube’s 90-minute play is hugely entertaining.

Current exhibitions by Black artists show how they have fought their way into Western art, but the latest show — The Time Is Always Now: Artists Reframe The Black Figure — illustrates how many still feel the need to fight the old battle.

A caption in the Royal Academy’s new blockbuster exhibition, Entangled Pasts, 1768 - Now: Art, Colonialism and Change, reveals what the institution is trying to escape from: “The Royal Academy’s President from 1924 to 1926 [Frank] Dicksee insisted “our ideal of beauty must be the white man’s.”

Rewind is a disturbingly powerful and moving one-hour production that makes disinterred bones speak.

No, it makes disinterred bones cry out for justice.

Hidden Letters sets the context for its examination of Nushu -- a secret text among women in China’s Human province – by images of foot-binding: breaking and tightly binding the feet of young girls.

Myanmar is among the also-rans in the UN’s international development rankings, but as the new British Museum exhibition, Burma to Myanmar, reminds us it once had an empire and was wealthy.

Talking About The Fire is the latest in a newish genre: one-person shows about serious topics, such as global population, worldwide animal extinction,  and climate change. Now we have a show about nuclear bombs.

The drama mounts to a crescendo as rules are broken and the arguments between the characters become increasingly heated. Suddenly the confusion climaxes in a moment of family violence: mum flips the Cluedo board over, sending the pieces flying.

First came The Swimmers - a flashy dramatisation of the adventures of the Syrian sisters who risked their already endangered lives by jumping from an overcrowded refugee boat and pulling and pushing it for three-and-a-half hours to safety in Lesbos.