After the most TV-based election build-up ever seen with big debates, small debates and, for the two main party leaders at least, a traditional Paxo stuffing, the battle buses were parked up as the electorate settled down to watch the big night on the small screen.

Thank fuck, it’s over. I mean the General Election. No more campaigning, no more leader debates, no more anti-Miliband hysteria. But there’s still no end to theatre gimmicks that exploit public interest in what is clearly one of the tightest elections in living memory. First prize for the biggest stunt must go to this venue: artistic director Josie Rourke and playwright James Graham have created a fictional polling station, located in a Lambeth school gym, where people er, vote, and the experience is broadcast live on More4.

Thanks to its international festival and a thriving catalogue of fringe events, May brings a great deal of noise to Brighton. Putting artwork into this saturated landscape can never be easy. But Nathan Coley has managed to inject some critical thinking and reflectivity.

As The Queen gains an audience with the latest royal addition, her theatrical alter ego returns to the West End, with Kristin Scott Thomas inheriting Tony-nominated Helen Mirren’s role in Peter Morgan’s updated revival. Callaghan is out; au courant gags about election battle buses and Thursday’s result are in. Ed Miliband lookalikes must be lining up at the stage door.

The trouble with the general election is that while everybody talks about money, nobody talks about ideas. We know the price of everything, but the value of nothing. This might seem to be a triumphant demonstration of the essential pragmatism of the nation, yet there was a time in English history when ideas mattered. And when they were passionately discussed, and bitterly fought over. I’m referring to the English Civil War of the 1640s, and its aftermath when king Charles I was beheaded, an era explored by Caryl Churchill in her 1976 docudrama.

Shami Chakrabarti (b. 1969) is the director of the civil liberties organisation Liberty, a position she famously and, some would say, fortuitously took up the day before 9/11. Raised in suburban north-west London, she became a barrister for the Home Office in the mid-Nineties. Regularly voicing her opinions on a multiplicity of current affairs programmes, notably Newsnight, she has spoken out on a huge number of issues, especially taking a stance against Britain’s “anti-terror” legislations.

While seven-way debate rages, broadcaster and debuting playwright Jonathan Maitland takes us back 25 years to a radically different political landscape: a time of regents, and of regicide. It’s 1990 – Thatcher the leader claiming divine right to rule, Geoffrey Howe her unexpected assassin. How did the mild-mannered Welshman, whose rhetorical powers Denis Healey compared with those of a dead sheep, become a wolf in sheep’s clothing?

Switched from last Thursday to accommodate the live standup gigs by Cast Iron Dave and "Tough Enough" Clint Miliband, this 90-minute drama took us back five years to the birth of the Conservative-Lib Dem pact. It purported to be based on "extensive research" and interviews with "people who were there", though there wasn't much that the average politico-freak wouldn't have known or surmised already. Some of the performances were fun though.

The devil gets the best lines, as usual. That may depend, of course, on whether we’re prepared to qualify David Cameron in that role, but in William Gaminara's rapid-firing farce The Three Lions, the PM (played with real brio by Dugald Bruce-Lockhart) certainly gets to show off his nefarious side, and then goes on to riff demonically as everything descends, gloriously, into chaos.

If the mark of a good documentary is that it teaches you something new, then the awkwardly titled Hillary Clinton: The Power of Women was a very good documentary indeed.