Thanks to a powerful cast and crisp direction from Brian Kirk (Game of Thrones, Luther), 21 Bridges drives home its story of good cops, bad cops and a Big Apple rotten to the core with bulldozing force. Centre stage is Chadwick Boseman as Andre Davis, a detective renowned for showing bad guys no mercy.

By the time Vampire Weekend reached Birmingham on their latest UK jaunt, they had unfortunately managed to mislay their support band, the colourful Songhoy Blues. This was a great shame, as the Malians would surely have added a bit of colour to the early part of an evening that would most certainly have benefitted from a bit of light and shade.

Brittany (Jillian Bell) is the unhappily overweight life of the party, numbing her lonely life with booze and acerbic one-liners as she nears 30. Bad medical news makes her obsessively turn to running, eventually entering the New York marathon, with side-effects include an ambiguous romance with slobby fellow house-sitter Jern (Utkarsh Amdudkar).

For visitors to New York, it’s all about Manhattan, its 23 square miles of skyscraper-encrusted granite instantly familiar, its many landmarks – enshrined in movies and music – must-sees on the itinerary of first-time tourists. The other four New York City boroughs? Well, the journey to and from the airport takes you through at least one of them, which is as far as many people get to visiting them.

Dolly Wells’ directorial debut employs her best friend Emily Mortimer as reclusive writer Julia Price, having paired up previously in a TV satire of their professionally uneven relationship, Doll and Em.

She was recording Carmen in Paris, and the Radio France auditorium was packed with the press, asking such dazzling questions as "have you been up the Eiffel Tower yet?" and "what do you think of the French men?". I thought, given the statuesque approach, it might be best to wonder if there was a nobility in the characterisation. Jessye Norman refined it to "dignity" and enlarged graciously on that (I can no longer find the transcript or the printed feature).

The work isn't finished on Big, if this stage musical of the beloved 1988 Tom Hanks film is ever to, um, make it big. A Broadway flop in 1996 where it was among the last shows directed by the late, much-admired Englishman Mike Ockrent, the material finds a sweetness in its West End incarnation that eluded it Stateside.

When did Dorothy (Constance Wu) really want to be a stripper? Maybe it’s when she looks with love at Ramona (Jennifer Lopez) during her strutting set piece dance, as she descends to a carpet of cash.

London’s latest theatre opening brings a stirring revival of Harvey Fierstein’s vital gay drama, which premiered as Torch Song Trilogy in New York at the beginning of the 1980s, the playwright himself unforgettable in the lead, before it opened in London in 1985 with Antony Sher.

William Finn and James Lapine’s musical – which combines two linked one-acts, March of the Falsettos and Falsettoland, set in late 1970s/early 1980s New York – picked up Tony Awards in 1992 for its book and score, and was nominated again in 2