Rob Ashford occupies a unique perch in the Anglo-American theatre. Florida-born, raised in West Virginia and a product of Broadway, where he began as a dancer in shows including Parade, Victor/Victoria and the celebrated Lincoln Center revival of Anything Goes, he some while back crossed to the other side of the footlights to build a career as a director/choreographer that has spanned the Atlantic.

Who says you can't go home again? American actor-singer Anthony Rapp does that, and then some, with his solo show Without You, in which one of the original leads of the Broadway musical Rent relives the passions and pain of an extraordinary time. Quite how the 80-minute piece will register with non-Rentheads (as the show's fans remain known) must be up for grabs.

Marvin Hamlisch’s three Oscars all came in 1974. "I think now we can talk to each other as friends," he said as he accepted his third award of the night. He composed the winning song "The Way We Were" (and the film's score) for Barbara Streisand, having started out on Broadway as rehearsal pianist in Funny Girl. A wizened sage warned Hamlisch that it didn't do to win so much so young, but he paid no notice and a year later went and wrote the music for A Chorus Line, his Broadway debut.

James Corden (One Man, Two Guvnors) made it past the finish line, Tracie Bennett (End of the Rainbow) did not, and the art-house musical Once trumped Disney’s latest Broadway entry, Newsies, at the 66^th annual Tony Awards in New York last night. The ceremony, honoring the best of the Broadway season just gone, was available in real time to nocturnally minded London theatre folk, who could watch the CBS gala streamed live on the web.

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

When a young Charles Dickens visited New York in 1842 with his wife, he strolled down Broadway, happened upon an unusual dance and naturally checked out theatreland. As his bicentenary is celebrated, here, from his journal, American Notes For General Circulation, are some of his observations on the arts and culture of this foreign city, intervals of refreshment between the widespread social ills that he was principally reporting upon.

Dickens on Broadway

Was there ever such a sunny street as this Broadway!

Should the people who made Tron - or for that matter James Cameron - ever decide to take on a Broadway musical, they owe themselves a trip to the Menier Chocolate Factory's ludicrous production of Pippin to find out how not to do it. Just because this long-running New York entry was the first Broadway show to advertise on American TV nearly 40 years ago, that doesn't mean it also needs to be the first in my experience to be transformed into a video game so as to accommodate contemporary tastes.

You can accuse Alfred Uhry's 1987 play Driving Miss Daisy of many things – being overtly sentimental is top of the charge sheet – but you certainly cannot claim that it’s a case of false advertising. Even if, like this critic, you missed the original stage version or any of its revivals, not to mention the Oscar-winning movie, it’s painfully clear from the opening scene in which the heroine is forced to hire a chauffeur that this is not just precisely but wholly a play about Miss Daisy being driven.

The stage musical The Lion King has been seen by nearly 10 million people in the UK - almost 60 million worldwide – and Lord only knows how many must have seen Walt Disney’s animation. I have a friend who reckons he has seen it at least 26 times and a female acquaintance who firmly believes that curling up in front of the DVD is the cure-all for heartache – well, we can’t all write songs like Adele - but until recently, The Lion King had completely passed me by. I couldn’t even have hummed so much as a crotchet and a quaver of Elton John and Tim Rice's Oscar-winning song “Can You Feel the Love Tonight?"

"Whoring after the public taste" is how Ingmar Bergman described some rather funny hanky-panky in one of his most singular films. It's what showbusiness thrives on, and it's fine if done well. Yet a decade ago Trevor Nunn crowned the National Theatre's trio of keenly observed Rodgers and Hammerstein stagings with South Pacific characters of flesh and blood, as its creators had surely envisaged. Here, despite strong delivery of a string of hits and fluid, evocatively lit designs, Bartlett Sher's Lincoln Center Theater revival too often takes us back to the Broadway whorehouse.