Twenty-one years ago, critics were alarmed by Ben Elton’s deranged musical We Will Rock You. But, despite the "staggeringly awful" reviews, the show somehow went on to have 12 long (and painful) years of West End success. So, here we are again. The car crash of a show is back for a summer run at the London Coliseum. But has it made any progress in its nine-year hiatus? Sadly not.

Love may change everything, as we're reminded multiple times during Andrew Lloyd Webber's rabidly polyamorous Aspects of Love, but certain things about this 1989 London hit (and subsequent Broadway flop) are fixed.

It’s back yet again, Operation Mincemeat, a gift of a story that goes on giving. It surfaced as the 1956 film The Man Who Never Was, based on a 1953 book by Ewen Montagu, one of the MI5 types who came up with the 1943 plan of that name. Its latest run was kicked off by a 2010 book by Ben Macintyre, a play by Cardboard Citizens, a second film version, with Matthew Macfadyen and Colin Firth, in 2021 and a long-aborning musical by the SpitLip company. 

Ain’t Too Proud? Ain’t too good either, I’m afraid. Which is a shame as there’s plenty of the raw material here that powers juggernaut jukebox musicals around the world, but this production has the feel of a cruise ship show with a much tighter band and better singers. 

People can’t find the food they want in the shops. Nobody has enough money. Public services are under pressure. And there’s a big Royal occasion to take our minds off things.

One wonders if Ricky Simmonds and Simon Vaughan pondered long over their debut musical’s title. Silvio might invite hubristic comparisons with Evita (another unlikely political leader), but Berlusconi feels a little Hamilton – too soon? They went with the surname of their anti-hero which appears a mite unwieldy on the playbill.

It now seems an inevitability that Marisha Wallace will be a frontrunner at next year's theatre awards, not just this year’s. Having barnstormed her way to a 2023 Olivier nomination for playing Ado Annie in the Young Vic’s Oklahoma!, her Miss Adelaide, luckless fiancée of crap-game organiser Nathan Detroit, is the crowning achievement of Nicholas Hytner’s exuberant new production of Guys and Dolls at the Bridge, which itself should be a shoo-in for prizes of its own.

If you are hoping for some harmless fun at The Great British Bake Off Musical, probably with a few dodgy jokes about soggy bottoms mixed in, you won’t be disappointed. But what you might not expect is that the show will liberally ladle on the innuendo and is so filthy at times that it’s like being at an adult panto. The audience on opening night certainly seemed a primed one, aahing when a contestant was sent home, booing when one resorted to sabotage. 

It is, perhaps, important to note that this production was first staged in London at the Young Vic, a venue noted for shows possessed of a rather harder edge than that usually connoted by the description "West End musical".

For many years, I would ask groups of students to vote in elections because “it’s important to honour those who gave up so much to ensure that the likes of us can”. Some would nod, others would shrug, a few might have inwardly scoffed – too cool for school, innit?