The “fantasy” Riviera conjured by designer Peter McKintosh for the West End premiere of Dirty Rotten Scoundrels - the Musical is pretty much an extension of the Savoy Theatre’s shining Art Deco auditorium, its sleek angular segments gliding into position like they too have been choreographed by director/choreographer Jerry Mitchell. So it looks devilishly good and it smells of money and deception. Which (as those of you have seen the semi-classic movie will know) is precisely what this expensively upholstered romp is all about.

The fledgling career of Michael Codron, who has been knighted in the New Year's Honours list at the age of 75, might have ended almost as soon as it began. He embarked on a career as a solo impresario in 1956 and had staged three shows, none of which prospered. Then he went to Cambridge and saw a promising undergraduate revue, written by Bamber Gascoigne. He decided to bring the improbably titled Share My Lettuce to London, recasting it with Kenneth Williams and the then unknown Maggie Smith.

The great Marilyn Horne used to joke that she was going to release an album entitled “Chestnuts for Chest Nuts”. She never did, but that leaves the door wide open for Sonia Prina whose dark, thrillingly low sound marks her out as the real deal, a genuine contralto. But the excitement of Prina in performance isn’t just about her extraordinary skill at using her unusual range.

No one ever said putting on a show was easy, least of all the names (a lot of them famous, quite a few not) on compulsively watchable view in The Sound of Musicals. Channel 4's reality-TV probe into the world of art, commerce, and high kicks is sure to be catnip to theatre folk the world over, even if the sight of Broadway actor-turned-Chichester "star" Christopher Fitzgerald walking his tentative way across a tightrope in his role as PT Barnum soon becomes a visual metaphor for the performer's ever-precarious chosen profession.

“She paused and heaved a sigh of relief that seemed to come straight from the cami-knickers.” Recounted our brother Andy, many years ago……. "A silence ensued." This was not his own observation, but a quote from P.G. Wodehouse, whom neither Bobby nor I had ever read. “I call her a ghastly girl because she was a ghastly girl.” He continued. “A droopy, soupy, sentimental exhibit, with melting eyes and a cooing voice and the most extraordinary views on such things as stars and rabbits.”  We were hooked.

If this native New Yorker were in a relationship with the city of London, our Facebook status would read: “It’s complicated.” We’ve been through hell together. London is one of my favourite cities. I blissfully cross the pond several times a year to teach and to see my mates. But, this fabulous city also bestowed on me the worst reviews I’ve ever gotten in my life. So, why the heck am I coming back to do yet a show about the very show that shattered my dreams? Insane!

In recent years theatre has sought assistance from a pair of popular art forms. Shows based either on movies, or on pop groups’ back catalogues, have become mainstays of the theatrical economy. So the latest musical to open in the West End has the whiff of  boardroom cynicism. What happens when you randomly select a famous film and an iconic songbook, yoke them together and shove them out in front of the footlights?

Without wishing to get all Kirstie and Phil about this, theatre, more often than you’d imagine, is about location, location, location. One of the reasons why the National Theatre’s knockout The Curious Incident of the Dog in the Night-Time was so potent was because director Marianne Elliott welded the audience to all four sides of the action. Transferred to a West End stage, the tension between stage and audience is undeniably different. Is the show still a triumph? Oh yes.

A Chorus Line is one of the great American musicals. It opened off Broadway in 1975, rapidly barged a path to a larger Broadway house and proceeded to run for over 6,000 performances, breaking records along the way. Chicago, which opened in the same season, failed to seize the city's imagination in the same way, and had to wait till the 1990s to find an audience prepared to devour it. At the Tony Awards the musical about the foot soldiers of showbiz, the faceless dancers high-kicking in line, went on to win nine gongs, and then picked up a Pulitzer Prize.

It was in Singapore in 1947 that my real education began. For the first time I read Lawrence, Forster, Virginia Woolf, Melville, Graham Greene and Bernard Shaw’s political works, becoming a lifelong Leftie. When Stanley Baxter explained Existentialism in our billet block, we nodded intelligently. When Kenneth Williams spoke Parlyaree, we were in advance of the rest of the nation who wouldn’t hear of it till Beyond Our Ken.