Cheeky and broad and (for the most part) as entertaining as seems humanly possible, this embryonic entry from the collaborative pen of Tim Rice and Andrew Lloyd Webber is back at its onetime London home, the Palladium. It's a production far surpassing any of the various London and Broadway Joseph and the Amazing Technicolor Dreamcoats I have come across over the last 30 years or m

Better than the 2001 film but likely to disappoint devotees of the book, Captain Corelli's Mandolin onstage works best as a reminder of the identifiable stagecraft of its director, Melly Still. Playful, non-literal, and often endearingly physical (the human goat all but steals the show), Still's approach to this tale of love during wartime overrides a reductive and sometimes comically cliché script from Rona Munro full of lusty Italians singing Verdi and the like.

Time hasn't necessarily been kind to this slow-aborning West End transfer of a show first seen (and lauded) in its 2015 debut in Leicester and then again two years later for a summer run at the Menier Chocolate Factory.

This lovingly lo-tech visit to galaxies far far away is a curious proposition, which, while neither dark, nor sublime, does have its moments. Framed as a tribute to Seventies sci-fi in all its polyester-clad absurdity, it in fact reveals itself to be an exploration of the parallel emotional worlds we all inhabit, with hat-tips to Star Trek and Blake 7 along the way.

This well-meaning biographical jukebox musical about icons Gloria and Emilio Estefan, which did two years on Broadway and a US tour, is good summer scheduling, what with its Latin-pop bangers, infectious dance routines and “Dreams come true” messaging.

Lev Dodin has been artistic director of the famed Maly Drama Theatre for some three and a half decades now, over which time the St Petersburg company has earned itself the highest of international reputations.

A small-scale Off Broadway venture late in 2009, The Starry Messenger has arrived in London to mark the belated British stage debut of Matthew Broderick, the movie name much-loved on the New York stage.

The past haunts the present and looks likely to torpedo the future in Rosmersholm, the lesser-known Ibsen play now receiving a major West End revival in welcome defiance of the commercial odds.

In an age where political, social, and gender norms seem to be in perpetual meltdown, it should be pretty much impossible for a musical that begins with a song celebrating ‘Tradition’ to strike a chord. Yet from the moment that the cast of Trevor Nunn’s foot-stompingly fist-wavingly triumphant Fiddler on the Roof launches into the opening number, it’s clear that they have the energy and chutzpah to whip up an emotional storm.

The grand finale of Jamie Lloyd’s remarkable Pinter at the Pinter season is this starry production of one of the writer’s greatest – and certainly most personal – works, inspired by his extramarital affair with Joan Bakewell.