Camp? Well, let's put it this way. Kneehigh's stage adaptation of Jacques Demy's Gallic, unashamedly romantic and singularly through-sung 1964 movie musical was only half way through its cod introduction when I was assailed by a sudden Proustian memory. It was of an edition of Just a Minute in which Kenneth Williams was given, as his subject, the phrase "Honi soit qui mal y pense". "Translated into yer actual English," the great man averred, "that means 'Honest sweat killed many a ponce'."
Emma Rice's Kneehigh theatre company are bringing their radically innovative work to the West End, says Claire Allfree
Practice of 'premium pricing' for popular shows hides the true cost of booking the best seats
Critics always say that the most important element in a musical is the libretto, or book. Audiences don't care about this so much if the music is good, hence the popularity of Verdi, Puccini, and Lloyd Webber.
Candice Marie, Pam, Mrs Bennet and the immortal Beverly – all great roles that only Alison Steadman could have created. But her latest on stage is the toughest yet
Bill Bailey's talent embraces everything from bloke-in-a-bar gags to Chaucer and Pinter. Where will his quicksilver wit alight next?
Peter Mulloy's feisty period stagings of the Savoy Operas have proved beyond reasonable doubt that you don't need elaborate and gimmicky stage values to raise the necessary chuckles with these well-worn pieces. An experienced crew of singing actors and a strong sense of English eccentricity will do nicely.