some of Broadway’s best songs will delight musical theatre lovers.

In late 19th century Paris, a bawdy new dance was born. The can-can grew from the seductive dances of Moulin Rouge courtesans into a high-energy show involving high kicks, splits, and exposed undergarments. Back then, you would have to go to French cabaret for the can-can. Now you can see it in railway arch in South London. Can-Can! promises fun and frivolity, and boy does it deliver. The show is a stunning, sugary confection of acrobatic feats and lavish design. ...

Pros: The obviously enthusiastic cast make a decent attempt at Chekhovian drama. Cons: An awkward adaptation, misguided direction and a lack of depth let this production down. Why do we still love and perform Chekhov? Over a hundred years since the great Russian playwright’s death, this is a valid question, and one that director Phil Willmott tries to answer in his programme notes for Cherry Orchard (theThe has mysteriously vanished) at the Union Theatre. He wants to make the play ...

A fabulous and flamboyant farce overflowing with feel good factor.

A light-hearted medieval musical with a solid cast, occasionally brilliant comedy and some catchy songs, but sadly lacking the overall polish and wow-factor of Tim Rice’s later triumphs.

Pros: Lively, lovely and wonderfully funny. Cons: Hard to find any. No, really, it’s very good! The Mikado can be a challenging production. An opera set in Japan but written by two Caucasian Britons in 1885, which has actors running around with names like “Nanki-Poo” and “Pooh-Bah” clearly suggests an outdated and imperial approach (even if its original intention was to satirise British politics). But don’t let that daunt you when it comes to Sasha Regan’s excellent all-male interpretation at the ...

This classic Gilbert and Sullivan piece is given a new lease on life under Sasha Regan's inspired direction.