Jack Whitehall, fresh from retaining his crown as King of Comedy, takes a crack at that old favourite, the school nativity play, with the help of his Bad Education reprobates. A somewhat uneasy marriage of Robocop and The Nutcracker, teacher Alfie's ambitious production finds room for tolerance channelled through the medium of expressive dance, guest turns from Frances Barber as Alfie's mum and Howard from Fresh Meat (Greg McHugh) as a thespian tramp, and no shortage of near-the-knuckle humour. Not forgetting some clinches with no need of mistletoe to pack some heat.

Psychobitches (Sky Atlantic) finished its first series last night (following last year's pilot), and anyone who says television doesn't make inventive programmes any more should watch it.

Set in the office of a modern-day female psychiatrist, who is confronted by some of history's most famous, unusual or bonkers women, it is surreal, but gloriously different.

I would have loved to have been a fly on the wall when the idea was pitched. "We'll have Eva Braun going to see the psychiatrist, and Joan of Arc, of course... Funny? Yes, of course it'll be funny! I know - we'll have Mother Theresa too. Hilarious!"
And, unlikely as it might seem, it works.

The characterisations are as inspired as they are off-the-wall. Last night, Sam Spiro gave an hilarious rendition of Jackie Kennedy as a female version of Columbo the detective, and Zawe Ashton played a madly feline Eartha Kitt. Frances Barber's over-the-top version of Catherine the Great was annoying but Harry Enfield gave a brilliant impersonation of "Mrs Alfred Hitchcock" looking disturbingly like Mr Alfred Hitchcock dressed in women's clothes. And Julia Davis was beautifully ditzy as Mary Pickford, the silent film star. "That's seven times now," she complained to the psychiatrist, "that men have tied me to railway tracks..."

The scripts (by a team of writers) are clever, but the whole thing is held together by Rebecca Front, who plays the psychiatrist with a perfect mixture of assurance and bafflement. I know that Olivia Colman has been officially anointed as the nation's new favourite actress, but for my money Rebecca Front is up there. From The Day Today through Alan Partridge, The Thick of It and Lewis to Psychobitches, she is always excellent.

Psychobitches is a series born out of popular acclaim for last year's pilot. Rebecca Front plays an In Treatment-style shrink for famous females from history, and it was a cracking opener, right from the first moment when Rosa Parks needed a seat in the waiting room and everyone quickly jumped up.

I'm always in the market for a pastiche of Whatever Happened to Baby Jane?, and the one here, featuring Frances Barber as Bette Davis, and Mark Gatiss dragged up as Joan Crawford, was high-camp nirvana. Other highlights included Samantha Spiro as a fey, infuriating Audrey Hepburn, Sharon Horgan's Eva Perón, suffering from "feelings of grandiosity", and the Brontë sisters transformed into bonnet-wearing, foul-mouthed Chucky dolls.

A few of the short sketches needed to be even shorter - as in 100% shorter. On the whole, though, what a treat, to the point where I started hallucinating. It felt as though the screen was glowing, as if I were in a sci-fi movie, where an all-female (sorry, Mark Gatiss) comedy mothership suddenly appears, illuminated and throbbing, the door opening to reveal none other than Emily Wilding Davison laughing her bloomers off. But then I got over myself. It's quite enough that Psychobitches was indisputably funny.

I've seen a few things in the Playhouse Presents series. A bit like going to slightly up-its-own-arse arty theatre (only with big name stars). In my house we've chortled loudly, not because we've thought something was funny but to show we've recognised it as a joke. And in the advert break we've rushed to the kitchen to down a couple of pre-poured and now warm glasses of white wine, after which the second half has been more bearable and passed faster.

Psychobitches, though, which piloted last year, flies past, and is genuinely hilarious. The idea - famous people from history visit a modern-day therapist - isn't entirely new, I don't think (perhaps you can think of the examples: I can't). But it's written, by a vast team of writers, with such originality and wit, imagination and cojones, that it feels like a whole blast of new. In my house at half-time, and again at the end, we were comparing, and reliving - and relaughing at - favourite bits and characters. A nightmarishly needy Audrey Hepburn; Bette Davis and Joan Crawford bitching and backstabbing and bashing each other over the head with their best actress Oscars (it manages to be both clever and silly, a very attractive combo); Margot Fonteyn being very very old; Jacqueline du Pré communicating only through her cello, expressing love, childhood, adultery, coriander (a mournful downwards glissando, perhaps to signify distaste, or wilting?).

My highlight is Julia Davis's Sylvia Plath, but a Sylvia Plath who deals with all her internal strife and angst by adopting the persona of fellow poetess ... Pam Ayres. Davis as Plath as Ayres: it's a mash-up from heaven. Sharon Horgan's delusional, egocentric, megalomaniacal Eva Peron is also a joy, sipping her boobles (champagne) and naming leedle seedies in Argentina after herself, who she refers to in the third person. And the puppet-sized Brontë sisters, coarse Yorkshire slags squabbling on the sofa, mainly about (not) losing their virginity. "It's not me who's the desperate one," Charlotte squawks to Emily. "I'm not the one gagging for it that much her fanny's frothing like a beck in a storm."

So many highlights in fact, and such great performances, from the aforementioned, and from Sam Spiro, Katy Brand, Frances Barber, Sarah Solemani, Zawe Ashton, Jo Scanlon and more. Not forgetting Rebecca Front, as the kind, deadpan, calm (mostly: Audrey pushes her), but also human and very subtly arch therapist. "What do you have?" she asks politely, after Nina Simone has soulfully wailed: "Ain't got no home, ain't got no shoes, ain't got no money, ain't got no class ...". The answer? Depression of course.

They all seem to be having such a brilliant time doing it, it's impossible not to get swept along in the tide of fabulousness and sharp writing and cleverness-meets-silliness, with just a pinch of coriander lunacy. This is very funny women at their very funniest. Oh, plus one man, Mark Gatiss as Joan Crawford, also lovely.

Unfortunate title aside, Psychobitches is a wonderfully original idea - what if famous women through the centuries were alive today and seeking treatment from a psychotherapist? In a quasi-sketch format using the talents of 10 credited writers, it's a neat construct that allows writers' imaginations free rein, unconstrained by time, place or actual facts, and gives a roll call of talented actresses (and the occasional bloke) a chance to do their very best impersonations.

Last night's opener of a five-part series (expertly directed by The League of Gentlemen's Jeremy Dyson) started with Rosa Parks, not on the couch but "here for my appointment" in a glorious blink-and-you'll miss-it sight gag, where all the other women in the waiting room jumped up to offer her their seat. Actually being therapised, as it were, in the Sigmund Freud-style office, were (among others) an irritatingly winsome Audrey Hepburn (Sam Spiro), a grandiose Eva Peron (Sharon Horgan) and a self-obsessed Sylvia Plath (Julia Davis).

Plath was trying out a new writing persona in which she donned her grandmother's dress and wig and morphed into Pam Ayres - "I wish I'd looked after me toes/ Not treated them like they were foes" - one of many moments in this half-hour when I laughed out loud. It was an inspired gag. Equally good were the scenes involving the bickering Brontë sisters; Anne (Sarah Solemani) was meek but knowing, while Charlotte (Selina Griffiths) was withering about Emily (Katy Brand) needing to lose her virginity, or, as she put it in her broad Yorkshire vowels, "She should fuck off to Keighley on a Friday night and lose it to a cowhand and do us all a fucking favour."

Among the mix was Mark Gatiss and Frances Barber hamming it up marvellously as Joan Crawford and Bette Davis, in full What Ever Happened to Baby Jane? mode, endlessly outdoing each other in the meanness stakes, while Rebecca Front's therapist - an unshowy part that could easily go unnoticed in this parade of misfits - was nicely pitched. There was the occasional miss, but overall this was a joy.

An amazing lineup of comic actors have a ball playing historical figures in therapy opposite Rebecca Front's ever-patient psychologist. Julia Davis puts a new twist on the poetry of Sylvia Plath. Samantha Spiro is a ping-pong Audrey Hepburn, Mark Gatiss a superb Joan Crawford to Frances Barber's inspired Bette Davis. Katy Brand stars as one of three sweary Brontë sisters. It's the comedy equivalent of eating a lot of biscuits. If you miss it you will forgo the funniest thing on TV this year.

Rounding off the Playhouse Presents... series, this five-part comedy sketch show makes itself comfortable on the couch for a witty variation on the therapist theme of HBO's In Treatment. Rebecca Front anchors the action as a long-suffering psychoanalyst whose appointment diary is lit up by a galaxy of stars from yesteryear, as played by some of today's finest acting talent. Stand-out headcases include Frances Barber and Mark Gatiss as Bette Davis and Joan Crawford (in Whatever Happened To Baby Jane mode), Sam Spiro (Grandma's House) as irrepressibly cutesy Audrey Hepburn and Julia Davis (Hunderby) conjuring comedic magic by mixing poet Sylvia Plath's tragic angst with the simple jollity of Pam Ayres.

This Playhouse Presents... production from last year returns for a series, boasting the same strengths and weaknesses as its pilot. It's undeniably pretty slight - the single, running gag is seeing absurdly exaggerated caricatures of famous historical women visit Rebecca Front's modern shrink and flaunt their entertaining neuroses. But the joke is carried through with enough conviction and élan to make it pretty entertaining.

Tonight's highlight is Julia Davis's turn as Sylvia Plath - but a Sylvia Plath who, concerned that her creativity might be compromising her mental health, is considering adopting the poetry stylings of Pam Ayres. Elsewhere, there are foul-mouthed Brontë sisters, an infuriating Audrey Hepburn and the endless bitching of Bette Midler and Joan Crawford. The cast is excellent - Davis, Front and Sharon Horgan are now augmented by Frances Barber and Mark Gatiss - and they're clearly enjoying themselves too. Good fun.

You can't libel the dead, which will be great comfort to Sky's lawyers as the Playhouse pilot from last year is expanded into a complete series.

Rebecca Front stars as a ­psychotherapist with a patient roster that reads like a Who's Who of famous women from history.

This show totally undermines the feminist message of the BBC's Up The Women, which Front also stars in, by depicting all females of achievement as neurotic loons. Still, one thing women have always been good at is laughing at themselves. I hope.

The make-up and wardrobe departments really excel ­themselves here. The joke works even before Bette Davis and Joan Crawford (Frances Barber and Mark Gatiss) open their mouths.

The squabbling Bronte sisters are brilliant, just as Samantha Spiro makes for a ­wonderfully convincing Audrey Hepburn.

And Sylvia Plath (Julia Davis) doing a Pam Ayres in an attempt to rid herself of demons is inspired. This must also be the first time that tragic cellist Jacqueline du Pre is treated as a figure of fun.

It shouldn't work, but it does.

Psychobitches, stars Rebecca Front as a therapist whose patient roster consists solely of famous women from throughout history. Essentially an excuse for a fast-paced series of disconnected sketches, this simple premise is only semi-successfully executed by co-writer/director Jeremy Dyson from The League of Gentlemen.

Resembling a surreal parody of the great In Treatment, the series begins with a neat visual gag involving Rosa Parks - I suspect that's the first and last time I'll ever place those words in that order - before roaring into gear with Front's Grandma's House co-star Samantha Spiro delivering a pitch-perfect evisceration of Audrey Hepburn's irritatingly kooky screen persona.

Unfortunately, it then devotes far too much time to a mirthless series of Brontë sisters sketches - no, it wouldn't be hilarious if they were portrayed as gruff, foul-mouthed northerners - and Julia Davis as Sylvia Plath, which, while beautifully performed, hammers its one joke into the ground. Elsewhere, Frances Barber and a dragged-up Mark Gatiss (Dyson's League of Gentlemen cohorts crop up throughout the series) sell the hell out of a warring Bette Davis and Joan Crawford, but without banishing memories of French & Saunders' superior take on their feud. The only other sketch that really takes flight is Sharon Horgan as a glamorously self-obsessed Eva Peron.

As an excuse for a cast of talented, funny women to show off their versatility, Psychobitches is a success. But reducing Front to a straight role feels like a waste of her abilities, which merely adds to the overall air of mild disappointment.