Street of dreams? The people who lived in the real-life inspiration and location for Coronation Street, Archie Street in Salford, hand-picked by the soap’s begetter Tony Warren, would be flummoxed and flabbergasted to hear it called that. I walked down Archie Street several times when the TV soap started. The two-up, two down, back-to-back terraced houses, separated by a three-foot alleyway, had no baths, no hot water, no inside lavatories and were dubbed “a disgrace to society”.

Feeling apprehensive about opera companies tackling Broadway musicals is understandable. So if you’re still wincing at the memory of Leonard Bernstein’s excruciating 1980s recording of West Side Story, relax - director Jo Davies’s intention was to cast “opera singers who can really, really act” and avoid the potential pitfalls of a fully-fledged operatic approach. And the singing in this new production is consistently good; brilliant in places.

The cultural triumvirate of the Hallé Orchestra, the Royal Exchange Theatre and The Lowry have joined forces for this new production of the 1953 hit musical Wonderful Town. Leonard Bernstein would surely have been a happy man to hear his score, dashed off in a mere five weeks at short notice, played by the 65-strong Hallé Orchestra conducted by Sir Mark Elder, who has been nursing the ambition to do the show here since he saw the 2004 Broadway production.  

Fisher has pizzazz and a gift for comedy

The world premiere here of Monkee Business the Musical was planned long before the untimely death in February of Davy Jones, the Manchester-born member of the manufactured band that outsold The Beatles and the Rolling Stones half a century ago. The coincidence lends a poignancy to the event and the Manchester run has been dedicated to his memory.

For most film buffs, the name of director Vincente Minnelli immediately recalls the quintessence of the MGM musical of the 1940s and 1950s - a world of fantasy, brilliant colours, stylish décor and costumes in which Fred Astaire, Judy Garland, Gene Kelly and Leslie Caron dance and sing. The name also evokes steamy dramas and civilised comedies such as Some Came Running and Father of the Bride. As the BFI launches a major season of his films this week, however, it's worth pondering whether there is more to his oeuvre than meets the eye.

Melodrama is not something we accept easily these days, tittering gently as the gore runs, moving restlessly in our seats as heroes or villains declaim to the gallery. So all the more odd, on the surface, that Sweeney Todd is the most popular of Stephen Sondheim’s musicals. On the surface. Because, under the melodramatic posturing, Sondheim creates a cold, hard, bleak world.

Phone rings, door chimes, in comes Company, this time sporting surround sound and high definition and at a cinema near you. Tonight marks a rare opportunity to see a New York gala - the sort of event that proliferates in Manhattan even as the actual volume of Broadway openings decreases - with an assemblage of names that you could never get to commit for an extended run. All that and Broadway diva Patti LuPone at her most pungently acerbic?

Robert Sherman, who has died at the age of 86, was three years older than his brother Richard, and much quieter. Indeed, on the two occasions I interviewed the songwriting brothers – once in person, the other time on the phone from California – his personality felt intriguingly at odds with the benignity of their songbook, mostly consisting of the cheery children’s anthems they wrote for the likes of Chitty Chitty Bang Bang and Mary Poppins, The Jungle Book and The Aristocats.

You approach the theatre via a cobbled side street and you’re harangued by a Salvation Army officer, pleading with you not to go inside this house of ill-repute. The City Varieties is an under-appreciated jewel of a venue, a Victorian music hall recently reopened after an expensive refit. The carpets are no longer sticky underfoot and the seats are slightly comfier. Fortunately, not much else has changed. This is an extraordinary time capsule of a place.

As the series ended, it remained at great pains to repeatedly point out that this was the story of the British musical, its post-War success and how Oliver and Jesus Christ Superstar conquered Broadway. Yet it was hard not to sigh as episode three finished with Disney and Sir Cameron Mackintosh cosying up to stage Mary Poppins, which Mackintosh had the rights to. Universal hit Britain’s stages with Wicked, as DreamWorks has with Shrek The Musical. The story of the British musical concluded with corporate America moving in.