Lingua Franca, Finborough Theatre

Peter Nichols’s follow-up to Privates on Parade, while entertaining, is not a patch on the original

While films frequently spawn sequels and prequels, theatre — with the spectacular exception of the Bard’s history plays — tends to go for one-offs. In Peter Nichols’s new play, which opened at the tiny Finborough fringe theatre last night, the main character is called Steven Flowers — and yes, those of you who are paying attention have by now correctly guessed that is a follow-up to Privates on Parade, Nichols’s hit play of 1977 (last revived at the Donmar in 2001). But as well as being a follow-up, how does this new play stand up on its own?

Justin Fashanu in Extra Time

A new play remembers the first - and only - openly gay professional footballer

Ten years after Justin Fashanu - not only the first openly gay footballer, but the first black player to command a £1 million transfer fee - committed suicide in a lock-up garage in the East End, his former agent, Eric Hall, breezily informed the BBC that football was “not a world that attracts gay people". Has anyone told Elton John, Watford FC’s most famous fan? Yet however implausible Hall’s comment may seem, the evidence is stacked solidly in his favour: no other professional footballer apart from Fashanu has ever come out.

Sucker Punch, Royal Court Theatre

Roy Williams's latest play, set in the 1980s, is a punchy drama about boxing and racism

The poster for Sucker Punch, Roy Williams's ambitious new play about boxing and race during the schism-prone age of Margaret Thatcher, promises a sort of black British Raging Bull: There in one graphic image are the blood and sweat, the bravado and the pain, of a sport that for self-evident reasons makes it to the stage relatively rarely. How do you set actors' juices flowing eight times a week (and risk their jawbones dislocating) in a way that the cinema can manage with comparative ease? One answer arrived at by the director Sacha Wares is to ramp up the atmosphere, in conjunction with a designer, Miriam Buether, who evidently never met a space that she hasn't wanted in some way or other to transform.

Gina Yashere, Udderbelly, SE1

Explosive performance from a stand-up more often seen on TV these days

In the game of musical chairs that has led up to their coverage of the soccer World Cup, BBC and ITV executives appear to have missed a trick; judging by last night’s explosive opening few minutes, in which Gina Yashere gave an expletive-laden analysis of England’s opening draw against the United States, the comic would be a whole lot more entertaining as a pundit than some of the mealy-mouthed ex-professionals they currently employ to tell us where it all went wrong.

Pressure Drop, Wellcome Collection

Billy Bragg plays new songs in a gritty drama confronting the rise of far-right politics

Four podia occupy the Wellcome Collection’s temporary gallery space. Three are stage sets: a living room, a pub and a funeral parlour, all recognisable as “typical” working class - in fact, the living room might have been based on Pauline Fowler’s dog-eared front room. The fourth, placed further back, is where Billy Bragg will intercut the dramatic action with a new set of songs with his three-piece band, plus engage in a bit of ad-lib banter that will direct the audience back and forth across the promenade auditorium.

Interview: Barrie Keeffe on Sus, The Long Good Friday and London's Changing East End

Artful dodgers, diamond geezers and the real East End, by one of its leading scribes

Within the space of a single year - 1979 - Barrie Keeffe  wrote two scripts which together summed up the very essence of the East End on the eve of Thatcherism. The first, which barely needs introduction, was the now-classic The Long Good Friday. The other was Sus, an explosive play about a black man detained by two racist police officers on the night of the General Election.

The Blind Side

Sandra Bullock's Oscar-winning turn is the heart of a feelgood movie

A fool of my acquaintance told me, “This is the most racist movie I’ve ever seen.” The Blind Side patently isn’t racist, but anyone of a PC, liberal or atheist bent will feel a little uneasy at times during the film, dealing as it does with a black teenager being “rescued” from a life of financial and emotional poverty by a Southern Christian woman, Leigh Anne Tuohy (Sandra Bullock giving a towering performance, which won her the Oscar for Best Actress).A fool of my acquaintance told me, “This is the most racist movie I’ve ever seen.” The Blind Side patently isn’t racist, but anyone of a PC, liberal or atheist bent will feel a little uneasy at times during the film, dealing as it does with a black teenager being “rescued” from a life of financial and emotional poverty by a Southern Christian woman, Leigh Anne Tuohy (Sandra Bullock giving a towering performance, which won her the Oscar for Best Actress).

Gilad Atzmon’s Orient House Ensemble, Vortex

Charismatic Israeli saxophonist combines political jokes and fine orientalist jazz

The force of Israeli-born Gilad Atzmon’s world view – his anti-Zionism, but also what Robert Wyatt, a self-confessed “Gilad groupie”, calls the “intrinsically non-racialist philosophy that's implicit in jazz” – comes through loud and clear in his stage banter. Not many jazzers namecheck the Chilcot Inquiry or dedicate tunes to “the biggest arseholes on the planet”: ie a good handful of (named) British and Israeli politicians.

Roy Chubby Brown, Fairfield Halls

Irony-free zone for offensive comedy pleases a certain type

Chances are that you have never heard of Roy “Chubby” Brown. He never performs on television, or is invited to be a guest on chat-shows or panel games, and hell would freeze over before Comic Relief would invite him to be one of their ambassadors in the developing world. And yet he constantly tours, sells DVDs by the bucketload and is one of the UK’s most successful comics.

Detaining Justice, Tricycle Theatre

Powerful drama about asylum-seekers lacks strong ending

The plight of asylum-seekers is no laughing matter, but that doesn’t mean that dramas about the subject have to be worthy, or dull. In fact, young playwright Bola Agbaje’s Detaining Justice, which opened last night, is an exemplary mix of laughter and tears. As the final part of the Tricycle Theatre’s trilogy examining the state of the nation at the end of the new millennium’s first decade, this play confirms the feeling that much of the energy in new writing is coming from black writers.