Nigel Simeone’s engaging study of Bernstein’s score of West Side Story could almost be entitled “Collaboration: The Manual”, so deftly does it interweave Bernstein’s originality with the contributions of his stellar team-mates. Jerome Robbins conceived, choreographed and directed the Broadway show; Arthur Laurents wrote the book; Stephen Sondheim, in his first Broadway outing, wrote the lyrics; Hal Prince came in at a late stage when the original producer quit. (“It’s about a bunch of teenagers in blue jeans...a cast of total unknowns, and it ends tragically.”)

For a generation of children, Alan Menken (b. 1949) composed the soundtrack. From the moment Disney returned from the creative wilderness in the late 1980s up until Pixar changed the rules of animation, Menken wrote the catchiest tunes in the cinematic songbook. The music in The Little Mermaid, Aladdin, Pocahontas and, above all, Beauty and the Beast, which pioneered the migration of films from screen to stage, were of all his making. They had to create something called the Alan Menken rule at the Oscars to stop him carting home a statuette every year.

Broadway tends to go into overdrive in May, that time of the theatrical year when New York stages are at their buzziest in the run-up to the Tony Awards (to be awarded on 13 June).

Daniel Craig and Hugh Jackman didn't make the cut; Denzel Washington and Broadway neophyte Douglas Hodge did. And so the race is on for the 2010 Tony Awards, heralding the best of the 39 shows that opened on Broadway across the past season. As always, the British presence is formidable, and this year ranges from Catherine Zeta-Jones (A Little Night Music, pictured above) to Alfred Molina (Red) and on to composer and sound designer Adam Cork, who snared an astonishing three nominations, including one for Enron's original score. (Huh?)

Let me confess immediately: Debbie Reynolds didn't mean a great deal to me beyond Singin' in the Rain, warbling "Tammy" and Being Princess Leia's Mother (and believe me, she gets plenty of comic mileage out of the Carrie Fisher connection). But I knew she had a fabulous Hollywood history, and having been smitten by old troupers Elaine Stritch and Barbara Cook in London, I wondered if she could match them. Half-sashaying, half-tittupping on to deliver her own abbreviated, adapted version of Sondheim's "I'm Still Here", she immediately provoked the comparison.

Who would have thought that the self-described "American Tribal Love-Rock Musical" better known as Hair would have proven over the years to be such a tricky customer? A defining template of the 1960s (the original cast album was one of the soundtracks of my youth), this counter-culture mother lode has spawned more cheesy revivals than some people have, well, hair.

One girl can hit a high C, and how; the other would surely melt the iciest-hearted in Rodgers and Hammerstein torchsongs. That's Roberta Alexander, on the evidence of her "Somewhere" last night. Together with classy lyric-coloratura Claron McFadden, the beaming high Cs girl, and sophisticated pianist-animateuse Reinild Mees, she ran the gamut of Bernstein's song-and-dance cornucopia. With such physical ease and high spirits from these total artists, even the occasional archness in Lenny's heart-on-sleeve songbook passed with a relaxed sense of fun.

Commissioned by Josef Weinberger Ltd on the occasion of Stephen Sondheim’s 80th birthday today, In Good Company is a unique three-part collage of intimate conversations I have had with some of Sondheim’s closest colleagues and collaborators.