Barf bag? Check.

Crackers? Check.

Everybody ready? OK, we’ll begin. It’s time, once again, for the year’s biggest onslaught of televisual cheese. There will be sequins, there will be glitter, there will very possibly be blood, some of which may be mine because before this is over my eyes and ears will very likely start bleeding. Yes, it’s Eurovision night. Whoopee.

A disclaimer before we begin: I am not witnessing this live, because I don’t drink – since I can’t use alcohol to dull the pain, I lack the testicular fortitude to put myself through this without the ability to resort to the fast-forward button if necessary. And I got new glasses last week, and the new ones don’t have the anti-glare coating (most of the time, it doesn’t seem to make a lot of difference for me, and it starts to rub off if you have the habit of absent-mindedly cleaning your glasses on your T-shirt), so I reserve the right to hide behind a cushion if things get really dicey. The secret to surviving a Eurovision telecast, remember, is to prepare in advance for every eventuality. Including, possibly, your own death in a tragic and horrible sequin/wind machine accident.

Anyway. So. Last year’s winner, if you’re lucky enough to remember, was the fabulous Loreen. No, not Soreen, Loreen. I remember her name, but not her face or her song, which at Eurovision is par for the course for acts that don’t dress like Rosa Klebb after a glitter explosion. Loreen is Swedish, so this year le concours Eurovision is coming to us from beautiful sunny Malmö, capital of Scania and home of the Twisting Torso. That’s a tall building, not a corpse in a Henning Mankell novel, Ystad is 35 miles away.

Our host – in the UK, at least – is Graham Norton. Again. We open with a montage starring a caterpillar, which appears to be touring Europe by boat, train and moped. I think it’s supposed to be cute. It’s not. And of course the caterpillar is now turning into a butterfly in front of the Oresund bridge. A Swedish footballer welcomes us to Malmo (I found the right accent once, I’m not going to do it again) from the side of the Twisting Torso, and now a big choir starts off the proceedings by singing something tuneless. The music is by Benny Andersson, the lyrics are by Bjorn Ulvaeus, and one of the ladies in the choir has a very large gap in her teeth.

Ooh. Now people carrying the flags of all nations are entering via a catwalk over the audience. One young woman seems to be wearing a swan and pink hotpants. These are either the contestants, or a glimpse of Vivienne Westwood’s Primark collection.

Yes, Mr. Andersson, we know you know what a pedal point is. The choir are singing something about a legacy in song. It is, shall we say, statistically unlikely that any of this evening’s victims contestants will end up leaving us a musical legacy that in any way approaches that of Mr. Andersson and Mr. Ulvaeus, but hope springs eternal. That’s why we’re all watching.

Synchronised flag-waving. It’s like ‘One Day More’, without the knowledge that nearly everyone on stage will be dead by the end of the second half.

Here’s our Swedish hostess. And a lot of animated butterflies. She’s wearing what looks like a fuschia replica of the Shard. Her name is Petra Mede, and I’m not going to attempt a pronunciation. She’s talking about Bjorn and Benny, and three lines in she’s winkingly referred to ‘Dancing Queens’. Abba were sadly unavailable, so we have to make do with bb. Agnetha and Anni-Frid seem to have elected to stay home. Probably wise.

Ah, I see. The base of her pyramid dress is wide because it has to hide the tug-o’-war team pulling ropes to keep her smile in place.

Lines do not open until all acts have performed. Seems sensible, but this is only the second time they’ve done this.

May the best song win, Petra says. It usually doesn’t, but what the hell.

Aaaand we’re off. Song #1. Amandine Bourgeois, representing France with the charmingly-titled ‘L’enfer et Moi’ – ‘Hell and Me’. We’ve just seen a montage of Amandine shopping and having her hair done. Hell, presumably, is what happens next. She’s wearing a leather feather duster that’s cut well above her knees, and she seems to want to be a cross between Amy Winehouse and Courtney Love. Team France have possibly put more effort into artfully smudging her eyeshadow than crafting her song’s melody. It’s not bad, and for Eurovision it’s refreshingly rough around the edges, and… oh. Now she’s screaming. Possibly she’s already seen this.

Song #2. The next performance contains flashing images and strobe effects, says the caption on the screen. Don’t they all. Lithuania, Andrius Pojavis, ‘Something’. His favourite part of his body, according to Mr. Norton, is his arms. He wrote the song himself. It’s a sort of u2/early-era The Killers mashup. He’s terribly sincere – white T-shirt, black leather jacket, zombie poses, closes his eyes a lot – but not terribly charismatic. Again, not bad, but pleasantly inoffensive and not really memorable for either the right reasons or the wrong ones. This isn’t what we’re here for.

Now the butterfly is taking us to Moldova, represented in the montage by horses, dancing, and flying lanterns. Song #3, ‘O Mie’ by Aliona Moon. Piano intro, musclebound dancers dressed in white, she seems to be standing behind her dress rather than wearing it, and Emeli Sandé wants her hair back. It’s all Very Meaningful. She’s got a nice voice, and it seems to be about to get very overwrought. Her skirt, strangely, is glowing red as if lit from within, and lightning is being projected across it. And she’s getting taller. Ooh. A lift. And flames projected onto her skirt as the music approaches – please, God – a climax. She ends the song four feet taller than when she began it. At least she didn’t sing ‘Defying Gravity’.

Finland. Song #4, ‘Marry Me’, Krista Siegfrids. I’d rather not, Krista. Thanks anyway. Ah, she’s the lady who was wearing the swan with the pink hotpants in the opening procession. Her backing singers are wearing red frilly rubber aprons, and she’s being carried around by three Inigo Montoya wannabes in Batman masks. The song is generic Eurodisco, and not even good generic Eurodisco. Nicely trashy choreography, but this won’t win. Oh – now she’s got a wedding veil, and a lot of fireworks are going off. That’s what I love about Eurovision. The subtlety. She ends by snogging one of her backing singers.

Song #5. Spain. Y viva Espana. She’s got a Polaroid camera. Who still has one of those? ‘Contigo Hasta El Final’, by ESDM.  Not BSDM, ESDM. Don’t get your hopes up. It starts with a Spanish bagpipe. It’s folksy, the singer is wearing what looks like a courgette flower with gold shoulder trim, and they’re using the wind machine. The guitarist in the brown suit with the shaggy hipster hair has to be on drugs. You possibly would be too, if you’d rehearsed this a few times. Particularly since staying on – or, really, anywhere near – the note is not one of her better skills.

They travelled to Malmo by boat, apparently, and it took a week. How lovely they made it in time so we could all see this.

Belgium. Song #6, ‘Love Kills’ by Roberto Bellarosa. He’s only 18, apparently. Bless. He’s in a dinner jacket and no tie, standing in front of what looks like a selection of IKEA floor lamps, and I think he’s singing in English but I can’t quite tell.  Now the lamps have flown out, and the choreography begins. Oh, bloody hell. Dire sub-Michael Bolton ballad, and the dancers seem to be doing some bizarre cross between a Robert Palmer video and the Funky Chicken. Love kills over and over, apparently. If I don’t fast-forward this, they’re in danger of taking me down with them, and there’s a whole shitload of songs still to go. Moving swiftly on…

…to Estonia. Song #7, ‘Et Uus Saaks Alguse’, by Birgit. Hi, Birgit. A restrained, sweetly sad piano ballad, judging by the first verse. Oh – no, the drums and guitars have kicked in. It’s a 70s MOR knockoff, and I can’t take any more.

Song #8, Belarus,  ‘Solayoh’, by Alyona Lanskaya. The pre-song film montage featured carrot juice and monkeys. This has to be a step up from the last one. Alyona emerges from a six-foot glitterball, her dancers are wearing… well, something white that words can’t really describe, except you can see their bare chests most of the time. The song is a full-on onslaught of Eastern Europe disco WTF, and they seem to have borrowed a bouzouki from Greece. Jets of flame shoot up from the front of the stage, presumably to burn away the shattered remnants of everybody’s dignity. Including mine, for watching. This is pure Eurovision.

Song #9. Malta. He’s a doctor, apparently, and in the pre-song montage we see him walking down a corridor with a stethoscope around his neck. His name is Gianluca, and his song is called ‘Tomorrow’. Hopefully, it’s not that ‘Tomorrow’. He doesn’t appear to be a 10-year-old-girl with red curly hair, but you can never quite tell where the costuming with these things is going to go. We’re back on the folksy side of things again. He’s grinning a bit too much – seemingly with his very prominent eyebrows as well as his mouth – and it would be more charming if he grinned a bit less. Fast-forward time.

Next, Russia. No grandmas this year. Song #10, Dina Garipova, ‘What If’. I think we’re heading into Céline territory here – possibly not a bad tactical move, since Céline, once upon a time, actually won this thing. The song is adult-oriented pop sludge with uplifting/inspirational lyrics, there are four very cleanly-scrubbed backing singers behind her, there’s a melodramatic middle eight, and she’s selling it with absolute conviction. She’s also – and you have to have watched a few of these things to know how unusual this is – hitting all the notes dead-on, even the big ones. Not bad.

Germany. We are again warned about strobe effects, which is redundant at Eurovision. Song #11, ‘Glorious’, by Cascada. It’s an odd cross between full-on Eurodisco and full-on power-ballad, and the strobe effects are more interesting than the song. This is many things, but Glorious is not among them. You can barely hear her singing over the programmed synths. From what I can hear, this is not a problem. From Germany, this is a disappointingly by-the-numbers entry. Better luck next time, Deutschland, this won’t win.

Song #12, Armenia, ‘Lonely Planet’ by Dorians. Generic stadium rock, and yes, they’re using the wind machine. The keyboard player looks a bit like John Goodman. The guitarists are scowling. The song is Not Very Good. Still, the singer has a good, raucous rock voice, and they’re certainly giving it their all. Oh, look – those jets of flame again, accompanying the obligatory post-bridge key change. I have no idea what they’re singing about.

Well, at least that was mercifully short. Back to Petra, who’s still wearing the Pink Shard. She’s got better English than a lot of British presenters. Break for a short “comedy” film featuring Linda Woodruff, a Janet Street-Porter soundalike played disturbingly convincingly by a Swedish actress called Sarah Dawn Finer. She’s better than her script. Long, laboured joke about Abba being the Swedish Royal Family. Oh dear.

And we’re off again, this time to the Netherlands, who haven’t even been in the grand final for a while (no, I did not watch the heats myself – what do you think I am, a masochist?). Song #13, ‘Birds’, by Anouk. We are warned that if you don’t like Lana Del Rey, you’ll loathe Anouk. Noted. I like the idea of Lana Del Rey better than I like Lana Del Rey… and better than I like this. Minor-key music-to-slit-your-wrists-by in 3/4 time, delivered with what’s supposed to be a knowingly gloomy smile. I lasted almost two minutes, I hope you appreciate it.

Song #14. Romania. Again with the strobelights warning. Mr. Norton tells us it’s going to be special. I have a cushion ready. ‘It’s My Life’ by Cezar. Black sequinned Wicked Witch coatdress, overwrought music, dancers writhing under red satin, a falsetto chorus drawn from the very lowest circle of Dante’s Inferno, and the dancers seem to be wearing only flesh-coloured loincloths. This is, indeed, special, and it’s getting more and more special by the second. Cezar looks like a male Dynasty-era Joan Collins who has prepared for an audition for a vampire movie by modelling his vocal stylings on a drunk Kiri Te Kanawa and his facial expressions on a bilious attack. ‘Special’ doesn’t begin to cover it.

And it’s us. Song #15, the UK, Bonnie Tyler. Love Bonnie Tyler. Love, love, LOVE Bonnie Tyler. She is fabulous, and ‘Total Eclipse of the Heart’ is a genuine pop classic. This song – ‘Believe In Me’ – unfortunately is not. She’s as charismatic a performer as we’ve seen so far, she’s selling the song with everything she’s got, but the song is sludge and she won’t win. Shame, because she’s obviously having a good time, and if anyone deserves another moment in the spotlight, she does.

Home entry. Song #16, Sweden, ‘You’ by Robin Stjernberg. He’s sort of Gary Barlow-ish, until it gets unhinged. OTT chorus, five dancers on a red flying saucer doing choreography that seems to be the result of a collaboration between Twyla Tharp and the Muppet Swedish Chef, and a barrage of fireworks as we enter the final chorus. If you were trying to stage an aneurysm, this is possibly what it would look like.

Hungary. Song #17. ‘Kedvesem’, apparently in the Zoohacker Remix, like that means anything to any of us viewers at home, performed by ByeAlex, and yes, that is supposed to be all one word. He looks strangely like French Nouvelle Star (= American Idol) winner Christophe Willem, his song is slightly folksy hipster-ish pop, and it’s refreshingly low-key and rather charming. He’s toast.

Song #18. Denmark. The favourite to win, apparently. ‘Only Teardrops’ by Emmelie de Forest. She’s very pretty, it’s a perfectly attractive Europop song with a slightly military drumbeat underneath and a penny whistle solo in the intro. Pleasant, cute, but not terribly memorable. She can sing, though, and she’s having a lovely time singing her lovely song, which is nice. Huge cheer at the end, but I’m not sure what for, although it’s got a catchy chorus.

Iceland. Song #19. Montage film includes, yes, lots of snow and ice, and heavy sweaters. ‘Eg a Lif’, by Eythor Ingi. Sung in Icelandic. His look is lounge-singer-goes-RAWK, the song is a dull, rather old-fashioned pop-rock ballad that’s positioned somewhere between Abba and Meatloaf, and he’s got a terrific voice. It’s not unpleasant, but it isn’t going to win.

Azerbaijan. Song #20. ‘Hold Me’, by Farid Mammadov. Oh dear God, this has STAGING. He’s grinning like an evil doctor on an American daytime soap, perched on top of a six-foot perspex box that has a dancer in it mirroring his moves – yes, upside down. For the second verse, Farid jumps off the top of the box and they do an old-fashioned side-by-side mirror act. Then a woman enters in a red dress whose train probably stretches the entire length of Azerbaijan, and the perspex box fills with petals, and everyone grimaces meaningfully until it ends, two choruses later. The song is the sort of overwrought rock ballad people slow-dance to in every disco in every Mediterranean resort, which means it won’t make your ears bleed and you won’t remember a note of it two minutes after it ends. This could do well, although the staging is possibly too batshit insane for it to win.

And now, Greece. Song #21, ‘Alcohol Is Free’, Koza Nosta featuring Agathon Iakovidis. Greece, clearly, didn’t even try this year, and have just kidnapped a cheesy folk band from a backstreet bar in Piraeus, then force-fed them amphetamines to make them play at double speed. I lasted a little over a minute.

Ukraine. Song #22, ‘Gravity’, sung by Zlata Ognevich. She enters carried by a man who is apparently 7’8″ tall, and proceeds to sing a song that starts as a drippy ballad, and turns into a full-on festival of WTF – thumping beat, showy high notes, but it just sort of meanders in search of a point. Still, she’s gorgeous, and she’s got a hell of a voice. It’s wasted on this, though.

Song #23. Italy. ‘L’Essenziale’, Marco Mengioni. He’s probably very nice, the lapels on his suit are very shiny, his song is really boring, and he just stands there. This could really use some half-naked dancers and projected lightning forks. Or a pulse, even, because I’m not sure Mr. Mengioni’s got one. Has the doctor from Malta left the building already? Please, someone check. I’m not sure everyone is going to make it to the end of this song alive.

Another warning about strobe effects and flashing lights. If there weren’t strobe effects and flashing lights, we’d want a refund. Song #24, Norway, ‘I Feed You My Love’, sung by Margaret Berger. It’s a battle sequence from Star Wars with a techno beat underneath, coyly sung by Hayden Panetierre’s twin sister, who is wearing a dress so tight that it had to be put on in hospital under a general anaesthetic. She really goes for it, but it’s not quite demented enough to be a Eurovision classic, and it’s probably too bombastic to win.

Nearly the end of the songs now. Song #25, Georgia, ‘Waterfall’, by Nodi Tatishvili and Sophie Gelovani, whose song is a huge power-ballad duet about how their LUUUUURVE is LIIIKE a WATERFALL. There are fireworks, there’s dry ice, the wind machine is going full blast, and every time they hit a big-ass high note they look like they need to poo.

Ireland. Last song, #26. Not Jedward this time, but there will be flashing lights and strobe effects. Ryan Dolan, ‘Only Love Survives’. Camp Celtic drummers who’ve been sprayed with cooking oil, a big anthemic chorus, strained high notes – this is a slab of toxic Eurodisco that’s sung, apparently, by a computer-generated Danny Zuko wannabe. It’s awful – less awful than Jedward, obviously, but possibly awful enough to do well.

And that’s all the acts. I’ll spare you the pre-voting recap because I’m fast-forwarding past it myself, obviously – I mean, really, if I couldn’t even make it through some of those songs once, I’m not going to stick around for the recap.

Petra’s back to announce the interval act – last year’s winner, Loreen, singing a medley of her biggest hit and wearing a black-and-white feathered thingy on her shoulders that could potentially poke out the eyes of several of her dancers if they get too close. ‘We Got The Power’, she’s singing. She looks quite angry. Possibly she didn’t choose that outfit, or possibly she’s just pissed off because she knows that if she moved a little to her left, the wiring in her shoulder-feather-thingy would pick up a much better TV show from Denmark.

Ooh. There are acrobats on wires, and the music just got worse. She’s taken off the feathers now, and replaced them with a black-and-white copy of Joseph’s Amazing Technicolor Dreamcoat. The stage lifts her back into the air, the end of the coat stays on the ground, she finishes the song 15 feet above the audience to a wall of cheers. Not a tough crowd, this.

Another recap. Fast-forward time.

Petra has now changed into the colours of the Swedish flag, and before we start in on the points we’ve got film of Bonnie Tyler’s lovely week in Sweden. What this mostly reinforces is that yes, she’s great,  but why couldn’t we find her a better song?

Interval act #2 – Petra, leading us in a song-and-dance celebration of Swedish kitsch, complete with dancers toting elk antlers, nods to the Muppet Chef, ‘The Seventh Seal’, vikings, IKEA,  and ‘The Girl With The Dragon Tattoo’, and thirty seconds of choreography about recycling. It’s even got a chorus-line of high-kicking footballers and a woman writhing in a martini glass full of milk.  It’s utterly cheesy, and possibly more completely fabulous than nearly anything else we’ve seen this evening.  And Petra, amazingly, knows how to sock a big production number across the footlights.

Voting now. I’ll be skipping a lot of this, because who cares? Oh, wait. No, we’ve got Sarah Dawn Finer as herself, giving us her self-consciously arty cover of ‘The Winner Takes It All’. Ms. Finer clearly does not feel compelled to stay too close to the song’s actual melody. No wonder Agnetha stayed home.

So, yes, the voting. This hasn’t been a banner year – even the camp kitschfests were fairly subdued, there was nothing as demented as last year’s Russian Grandmas, and we can all predict which countries will vote along which nationalistic lines well in advance. And getting through this part of the broadcast takes about forty minutes, and I can’t be arsed. We all just want to know who won, and who got nul points. Denmark have an early lead, Estonia are bottom, Bonnie Tyler is also near the bottom of the board.

Now Ireland are bottom, nobody has nul points – shame – and we’re still languishing in the bottom half of the bottom half of the board.

…and with four countries still to vote, Denmark have won. We are still in the lower half of the board, so the battle now is a race for the bottom. Rather like the whole competition, if you’re cynical. And who isn’t when they’re watching this?

Oh. That catwalk over the audience is supposed to represent the Oresund Bridge.

Ireland’s bottom. Surprising, even given the blatantly nationalistic voting – he was far from the worst. So next year we’ll be in Denmark, and now we get another blast of Emmelie de Forest, with an extra glittergasm on the last chorus.

Overall: B-, apart from the Swedish Smorgasbord number, which was a knockout. Let’s hope Denmark can bring back the kitsch next year.

This year’s winner:

No, I haven’t started watching ‘Glee’ again, and season two of ‘Smash’ doesn’t go out here for a while yet. This was ITV’s seemingly ironically-billed broadcast of the ‘highlights’ from this year’s Olivier Awards ceremony. For lovers of really, really, really awful television, it was a feast to savour. For anyone else, particularly anyone who actually likes theatre, it was a waste of time dressed in a parade of dinner suits and posh frocks. How bad was it? Well, put it this way: last night I watched Showgirls, which I’d never seen before, and found that it was executed with a level of wit and style that this year’s Oliviers broadcast could not hope to match.

It was, in fact, quite difficult to work out what the makers of this programme – allegedly directed by one Stuart McDonald, who seems to have been responsible for, among other things, twenty-six episodes of Strictly Come Dancing – were trying to achieve, given that they seemed determined to shove most of the actual awards as far into the background as possible. In a slot of only ninety minutes on a major network – even at 10pm on a Sunday – I don’t particularly have a problem with showing at least some of the technical/supporting awards via a photo, a caption and a voice-over. Yes, set and lighting and costume designers do brilliant work, often under tremendous pressure, and yes, they deserve to be recognised, but if you have to squish the show down to half its actual length to fit it into a TV programme, something has to give, and the tech awards are not what’s going to keep people watching. Unfortunately, the supporting acting awards were relegated to 10-second clips as well, along with the awards for directing and choreography. Given some of what we were shown, that’s a little harder to defend. At least – credit where it’s due – the major award recipients were not limited to 30 seconds for their acceptance speeches; nobody abused the privilege, and the speeches we saw were generally funny, modest and charming. And as an added bonus: I didn’t notice anybody thanking God, which is an awards-show trope that generally sends my eyebrows shooting up into the stratosphere.

Otherwise, though, the show mostly seemed to either miss the point or shoot itself in the foot. No, that’s not quite fair: sometimes it  managed to do both at the same time. Surely the whole point of putting the Oliviers on television in the first place is to put a celebration of/commercial for the best our theatre has to offer in front of as wide an audience as possible? IF that was the aim – and it should have been – then the show was largely a miserable failure. We saw nothing at all of any of the nominated new plays, even though at least some of them are still running, and nothing at all (on the broadcast, at least) of some of the nominated musicals. We saw nothing at all of any of the winning performances, beyond a photograph of the actor in costume. All of the nominated shows, without exception, will have shot some kind of promo footage (quite a lot of it seems to end up on youtube), but we didn’t see any of it. The broadcast included musical numbers/medleys from ‘Top Hat’ and the current revival of ‘A Chorus Line’ (the latter’s number – ‘One’ – cut to under two minutes), and they both looked pretty good, once you learned to look past the bizarre camerawork and came to terms with the terrible sound. For ‘The Bodyguard’, Heather Headley gave a very, very self-indulgent (and, towards the end, surprisingly pitchy) rendition of ‘I Will Always Love You’, in which she managed to stretch the song’s first two lines out for what seemed like half an hour. We were also – oh joy – treated to a reprise of Will Young’s un-performance in ‘Cabaret’, for which he was inexplicably (yes, even in a very lean year) nominated for best actor in a musical. For those of us who had already paid to sit through it, that was just cruel.  Other nominated musicals (both new and revivals) didn’t get a look-in. Michael Ball and Imelda Staunton – two of the biggest names we’ve got – actually won their categories, and didn’t get to perform, presumably because their show closed months ago. There are clips of their (stunning) performances that would have been available, but they weren’t used here.

And, actually, that might have been OK if they’d genuinely been excluded because of time constraints, but they weren’t. Of course co-presenter Sheridan Smith had to have an opening number – she’s warm, funny, absolutely charming, has charisma to burn, and is a genuine, old-fashioned musical comedy star, even though she’s perhaps not the absolute greatest singer or dancer out there. Whatever it is, she’s got tons of it (and she’s also done plenty of TV, which means the people at home know who she is, which isn’t always the case these days with actors with a musical background), and seeing her vamp her way through ‘Diamonds Are A Girl’s Best Friend’ was fun, even if the song wasn’t improved by the terrible sub-Sunday Night at the London Palladium arrangement or the equally terrible miking. Given the special award for Gillian Lynne, the closing medley from ‘Cats’ was also entirely appropriate, and again, it was very well performed, even if it wasn’t well filmed or miked. Elsewhere in the show, however, there was a lot of filler. The clumsy jumps back and forth to the ‘public’ stage outside in the Covent Garden piazza didn’t work at all, and the material for the presenters went on for too long, and was so badly written that even Smith and Hugh Bonneville couldn’t sell it. These two actors are capable of being very, very funny indeed; they died up there, it wasn’t their fault, and they should probably put a contract out on whoever wrote their links.

Better – worse? – still were the guest performances. Petula Clark looks great, never mind considering she’s 80, but wheeling her out to sing ‘With One Look’ was a mistake – while she looks great, her voice is gone, and she struggled with the song to the point where it was almost embarrassing to watch. And then we had Idina Menzel and Matthew Morrison, both imported from across the Atlantic for no particular reason to deliver lengthy musical solos. Menzel paid tribute to Marvin Hamlisch by wailing and screeching her way through ‘That’s How I Say Goodbye’  as if she was at a karaoke night on a slightly downmarket cruise ship – because, apparently, no British actor has sung a Marvin Hamlisch song onstage, ever.  And Matthew Morrison gave us a blandly-sung, badly-choreographed solo medley from ‘West Side Story’ that climaxed in a gloopy cheesy-listening arrangement of ‘Maria’ with a power-ballad drum-beat underneath. Well, I say ‘climaxed’ – there might have been more, but that’s when I hit the fast forward button.

It’s not that I think there’s anything wrong with having random actors sing showtunes on TV. I like showtunes on TV, and have the DVD collection to prove it. Aside from the fact that so much of this broadcast was just plain bad to begin with, though, I do have a problem with half of the most prominent solo performance slots in a broadcast that should be celebrating and promoting the best of British theatre being given over to American performers who have not done any theatre in this country this year, and whose television show is not even available in every household here, at the expense of performers who were actually nominated and shows that are currently running. Come to that, if the point was to plug the theatre industry on national television, then perhaps the casts of ‘Once’ and ‘The Book of Mormon’  and maybe ‘Merrily We Roll Along’, among others, should have been included in the broadcast, rather than a couple of  actors who’ve been on ‘Glee’, even though those productions opened after the cut-off for nominations. As it stands, as a promotional exercise, this was a wasted opportunity.

The thing is, unbelievable as this may seem, it’s about a decade since the Oliviers – this country’s highest-profile theatre award – have been on television at all, other than via webcasts or the red button. The Tony Awards, on the other hand, are telecast every year – on a major network, yet, and far earlier in the evening than this was – and while they parcel up the tech awards in an hour-long pre-show that airs on PBS, they generally do a reasonable job of celebrating each Broadway season and promoting the nominated shows, and the telecasts, while not perfect, tend to be executed with orders of magnitude more conviction than was on display here. They also – and this is important too – manage to stay on the air in a primetime slot (albeit on Sunday night) despite ratings that are usually lukewarm. It’s a positive step to have the Oliviers back on a mainstream network this year, but if it’s going to be worth keeping them there, ITV are going to have to up their game.

Bluntly, this programme was incompetent. It didn’t work as a celebration of the last year of theatre in the West End, and that might not have mattered if it had, instead, worked as a piece of television, but it failed there as well. It was a badly-conceived, badly-made, badly-scripted parade of pointlessness that, taken as a whole, resembled nothing so much as the arse-end of an under-rehearsed Royal Variety Performance in a really bad year. Given that we produce, in this country, a range of theatre that rivals anything you’ll find anywhere in the English-speaking world, I’m afraid, that just isn’t good enough.

In a word, yes, which makes a nice change. Unlike the last show that was touted by the Broadway critics as the second coming of musical comedy – The Producers, which was never as successful anywhere else as it was on Broadway, and which suffered in the absence of its two original stars – The Book of Mormon appears to be a durable enough show to succeed without the original Broadway cast. In London we have a pair of leads imported from the States – Gavin Creel and Jared Gertner, neither of whom is the originator of their role – as Elders Price and Cunningham, two Mormon missionaries who are sent to try and convert the people of Uganda, alongside an entirely local ensemble. They’re all great – this cast is giving as smart, sharp, and funny a set of performances as you could ever hope to see – but none of them are stars (although all of them probably should be), and it doesn’t matter in the slightest. When they’re replaced – which they will be, the London production is going to be around for a while – the show will play just as well with whoever is next, provided the resident directors and stage management run a tight ship.

The reason is simple: this show is flat-out funny. It’s also gleefully, lethally rude, taking deadly aim at an extraordinarily broad range of targets from the absurdity of the Book of Mormon itself and religious dogma in general, through Western colonialist attitudes to the developing world (in the second act, Bono gets a well-deserved kicking), to The Lion King, with healthy doses of profanity and gross-out humour along the way (it contains, among other things, a rectal insertion joke that has to be seen to be believed, and which made me laugh so hard that it caused me actual physical discomfort). No stone remains unturned, and no sacred cow goes unmolested – but there’s also a point, and the writers pull off a difficult trick: despite the barrage of satirical/scatological humour, this is at core a surprisingly sweet show that has something quite surprising to say about the power of faith. To say too much more would be to give too much away, and the show is certainly loudly and consistently critical of rigidly dogmatic religious leaders, but it’s a far cleverer piece of writing, in terms of the stance it takes towards its subject-matter, than you might expect. For that matter, it’s also a far cleverer piece of writing than Parker and Stone’s South Park: Bigger, Longer, and Uncut or Team America: World Police, both of which – while undeniably very, very funny – are firmly rooted in the blunt-instrument school of satire. Here, while nobody is above making scrotum jokes, there is something a bit more thoughtful going on, although there is never (thank God) a “but seriously though, folks” moment anywhere in the script, and the payoff at the end of the show is surprisingly touching.

How good is it? Well, I think the last musical that made me laugh as much was City of Angels, coincidentally at the same theatre, and that was twenty years ago (omigod, I’m getting old) – and that show, unlike this one, backs itself into a plot corner in the second act and relies on a not-very-convincing deus-ex-machina to get out of it. The Book of Mormon isn’t a perfect show either – while the direction (by co-writer Trey Parker and Casey Nicolaw) and choreography (by Nicholaw) are both blissfully sharp, the physical production (sets by Scott Pask, costumes by Ann Roth, lighting by Brian McDevitt) tends towards the functional, despite a few very clever visual-comedy flourishes. And the score, while always tuneful and always entertaining, peaks early, in that the opening number (‘Hello’, a piece of extended counterpoint in which the would-be missionaries practice their spiel) is better than almost anything else – this might be one of the all-time funniest musicals, but it’s not one of the all-time great scores, although the cast recording is enormous fun. The pace flags a bit, too, in the first half of the second act, but I saw a preview, and it could very well be that that will change as performances are adjusted in the run up to the press night.

Those are minor quibbles, though, and I’m picky: the biggest thing wrong with The Book of Mormon is simply that top-price tickets are priced north of £60 and it’s sold out for months, which means it’s going to be a while before I get to see it again. The best musical comedies – and they are few and far between – leave you walking out of the theatre feeling as though you’re floating on air. On that count, The Book of Mormon unquestionably delivers.

This is, of course, a show with a famously chequered history. The original Broadway production, in 1981, played more than three times as many previews as performances; during previews, the choreographer and the leading man were both replaced, and all the original costumes were thrown out, so that the show opened with the actors wearing coloured sweatshirts emblazoned with their characters’ names. It was a catastrophic flop, but it yielded a cast recording (recorded the day after the show closed); that recording reveals a score that, while patchy, is sometimes glorious, and that contains some of Sondheim’s most exuberant music.

Sondheim and Furth subsequently made several significant cuts and changes to the show, culminating in the 1992 and 1993 revivals in Leicester and off-Broadway, both of which were recorded. The Leicester production – I saw it twice – made a good case for the show as a problematic but playable piece that, while not perfect, was better than its reputation, despite a book by Furth that is never quite as penetrating or as witty as it thinks it is. It also had good performances from Michael Cantwell and Evan Pappas, and a phenomenal one from Maria Friedman as Mary Flynn, the novelist and critic whose unrequited love for her best friend drives her to alcoholism. That production, too, yielded a cast recording – almost unheard-of from a British regional production that didn’t transfer to London – and while it, like the show itself, is not perfect (not all the performances come across as well on the recording as they did in the theatre, and the percussion is far too high in the mix, and sounds like it’s being played by a Muppet on meth), I’ve listened to it a lot over the past twenty years.

And now it’s been revived again (there was a 2000 revival at the Donmar Warehouse; I was living abroad at the time, so I missed it). This time around, although the script is essentially the same as the one used twenty-one years ago in Leicester, the surprise is the extent to which Friedman and her brilliant cast have made the piece’s inherent difficulties disappear. This is possibly as good a production of the show as you will ever see.

Merrily, at heart, is a show about friendship gone wrong. Sondheim and Furth follow twenty years in the lives of Franklin Shepherd (a composer who sells out to Hollywood), Charley Kringas (a would-be playwright and Frank’s lyricist) and their friend Mary Flynn (a novelist and critic who carries a secret torch for Frank). We first meet them – Frank and Mary in the first scene, Charley in the second – in bitter, alienated middle age; as the show progresses, we slowly go back in time towards the night of Frank and Charley’s first meeting with Mary, and we gradually get to see how the friendship between the three grew and waned, and how Frank and Charley’s writing partnership went off the rails.

The reverse chronology makes it a formidably difficult show to cast; the original production used fresh-out-of-college twenty-year-olds, who by all accounts were not at all successful in the brittle, angry early scenes in Act One. Friedman goes in the opposite direction; she’s cast actors who read at the upper end of the play’s age range, and as the performance progresses they have to gradually age down in front of the audience. Not at all an easy thing to do, particularly in a tiny theatre, but this cast manage it triumphantly – in the final scene, you never, even for a moment, feel you’re watching adults playing kids. Friedman uses a simple framing device (the graduation scenes that originally framed the action are cut from the version of the show that’s now standard) . At the top of the show, as the title song begins, Frank is alone onstage holding what looks like a script; the script turns out to be the two one-act plays Charley wrote in college, and the final image is Frank, costumed as he was in the opening scene, holding the same script. Essentially, then, the show is middle-aged Frank trying to work out where his life went wrong.

To that end, the opening Hollywood party scene is brutal. Mark Umbers’s Frank is clearly not riding the crest of a wave. He’s stretched to breaking-point and full of self-loathing, even as he smiles for his guests; when he finally explodes at Jenna Russell’s Mary, it’s because her barbs have hit him where it hurts. Russell, for her part, makes Mary a truly mean drunk, but you see and feel the genuine hurt underneath her bitterness (it helps, too, that Russell is one of those people who can get a laugh and break your heart on the same beat). In the following scene, Damian Humbley, as Charley, delivers ‘Franklin Shepherd, Inc.’ with devastating force.  It’s a diatribe that clearly comes from years of frustration, and it’s riveting. Throughout the show, Friedman and her cast do an exceptional job of locating the emotional undercurrents between this central trio; even in the very, very bitter opening scenes, you see flashes of their charm, and all three are absolutely compelling. As the show progresses, their charm only increases – ‘Bobby and Jackie and Jack’, which is far from the best thing in the score, gets probably as good a performance as it’s ever had, helped by a wagonload of props and Tim Jackson’s clever choreography – and the final scene is very moving indeed. Their singing, too, is impeccable; in these hands, the glorious ‘Our Time’ soars. These are three phenomenal singing actors, and they’re all giving phenomenal performances.

The good news doesn’t end there. Glyn Kerslake is drily funny as producer Joe Josephson (a role that was played by Jason Alexander, later of ‘Seinfeld’ fame, in the original Broadway production), and Josefina Gabrielle makes man-eating Broadway star Gussie, Frank’s second wife, into a more fascinating figure than you’d ever guess was possible from the script – sexy, materialistic, ambitious, calculating, and far more intelligent than she lets on. She’s matched by Clare Foster’s Beth, who finds all the hurt in ‘Not a Day Goes By’ – in lesser hands, one of Sondheim’s most overly lugubrious ballads – in Act One, and is quietly radiant in the second half. Friedman knows the show backwards (forwards?), and she’s treated it, essentially, as an extended character study; the performances supply most of what’s missing in the book (which, even in this revised version, is not Furth’s best work), and the emotional payoff at the end is substantial. The tiny venue (and stage) helps; you can see into the actors’ eyes, and the intimacy really works for the show.

It’s not quite a perfect production. David Hersey’s lighting is terrific, but while Soutra Gilmour’s unit set – a ‘Mad Men’-era interior whose window opens onto either a swimming pool or the Manhattan skyline – is fine in the opening scenes, it’s too clean a space for the later ones. Her costumes, though, do an excellent job of keeping us aware of when we are in each scene. And giving the final transitional reprise of the title song to the kid playing Frank Jr. is a step too far – it doesn’t really work, although Noah Miller, the child at the performance I saw, was perfectly charming and sang it nicely. There are some rookie mistakes in the blocking – whatever the configuration, the Menier is a tricky space, but a little more attention should have been paid to sightlines.  And while the nine-piece band, under the direction of Catherine Jayes, are terrific, I wish they hadn’t cut about half the overture.

Those quibbles aside, though, this production is a major achievement, and – for Friedman – an astounding directorial debut, despite a couple of caveats. Without resorting to flashy staging flourishes, she’s taken a very, very difficult show – one which has never entirely worked in any previous incarnation – and she’s delivered a reading of it that probes deeper into the material’s heart than you would imagine possible. I can’t wait to see what she does next.

It’s fun, sometimes relentlessly so. The film was fun too, but it also had a surprising emotional depth. There’s far less of that in evidence here.

This is very definitely a touring production. While it doesn’t lack spectacle, it’s considerably less elaborate than the Sydney, London and Broadway incarnations of the show, at least judging by the production photographs from those cities.

There’s a bus, but it’s more skeletal than it was, and several larger set-pieces have been cut down, or are simply MIA. The costumes, though, are still incredibly elaborate and often very funny, and the smaller, cheaper set does at least come to us with smaller, cheaper ticket prices attached. And the show plays well enough even with some of the candy-wrapping taken out.

It’s a jukebox musical, meaning there’s no original score. Instead, there’s a nearly nonstop parade of every camp disco classic you’ve ever heard, plus Pat Benatar’s ‘We Belong’ and a couple of ballads. And I never, ever, EVER need to hear Pat Benatar’s ‘We Belong’ again.

This show does, though, do a more intelligent job than usual of making the grab-bag of pop and disco hits fit the plot – even, improbably, in most of the more ‘serious’ scenes. Much of the show’s vocal load is carried by a trio of ‘Divas’ who deliver their numbers in elaborate disco outfits, suspended above the stage. Here, they’re Emma Kingston, Laura Mansell, and Ellie Leah, and they are great, both individually and as a group.

‘Don’t Leave Me This Way’, though, is a misstep. It’s a great song, but it’s used in the funeral scene near the top of the show, it’s given inappropriately silly choreography, and it reduces Bernadette’s very real grief to the level of camp clowning. It’s as if the show’s creative team are afraid of slowing down and Being Serious less than ten minutes into Act One, and it’s a choice that seriously short-changes both the actor playing Bernadette and the show as a whole.

All the lines you remember from the film are present and correct, but they’re all played more for laughs than they were in the film, and that’s not necessarily a good thing. That’s not to slight the cast, all of whom do as well as they possibly could with what they’ve been given. Richard Grieve does particularly strong work as Bernadette, despite a stage script (co-written by Stephan Elliott, the film’s screenwriter) that stubbornly refuses to let anyone hold on to a serious emotion for longer than about three seconds before the next glittery production number begins. He can’t quite sell the funeral scene, but I doubt anybody could; elsewhere, he’s funny, touching and believable, and he makes it his own. Given Terence Stamp’s indelible performance in the film, that’s quite an achievement.

As Tick, Jason Donovan redeems himself here for the one other time I’ve seen him onstage – a dreadful 1996 revival of ‘Night Must Fall’ (it’s a dreadful play, it was a dreadful production, and he was dreadful in it). His singing voice, these days, is a little worn around the edges, but that works for the character; he’s really good in the role, and – like Grieve – he manages to land the laughs and supply as much depth of feeling as the stage version allows.

Yes, there are ping-pong balls, accomplished via theatrical sleight-of-hand. It’s a clever conjuring trick, and Frances Mayli McCann’s Cynthia is raucously funny.

The film wasn’t afraid to show moments of realism and grit – compare the stage’s happy-shiny-drag-show opening with the very dark first scene in the film – and it was all the better for it. The stage version, too often, plays like a brightly-coloured fairytale. Given that the heart of the show is three queer/transgendered people trying to find some accommodation with a world that usually does not treat them kindly, that’s a problem. Despite the best efforts of everyone in this cast, the overall effect is sunnier and ultimately less moving than the film, and the stakes don’t seem nearly as high. But hey, there are dancing cupcakes in ‘Macarthur Park’, so who cares about depth?

It’s not that it’s a bad show, the funeral scene aside. There’s plenty of spectacle, even in this cut-down touring production, and the production numbers are energetic and imaginative, and it’s packed with funny lines. It’s big, loud, slick and very entertaining – but it could have been much, much more.

And I’m afraid that once again, the behaviour of some of the audience at the Opera House didn’t add to the show at all. In front of me in act one, there were two ladies who talked constantly and loudly, occasionally breaking off to swig from bottles of wine – not miniatures, either – that they’d brought in from the Tesco across the street. Their charming response to being asked to quieten down? “You can’t tell me what to do, shut your face!”. The house management very kindly found me a different seat for Act Two, so I didn’t have to listen to them during the rest of the show – but that, of course, ducks the problem somewhat, in that they didn’t take any effective steps to protect the other audience members in that section who hadn’t complained. These two ladies were disruptive enough that a competent house management would have thrown them out; it is simply not acceptable to expect an audience who have all paid non-trivial sums of money for their tickets (prices for this show are far lower than they were in the West End, but that doesn’t mean they’re cheap) to put up with the performance being disrupted by people who don’t know how to behave in a theatre. Unfortunately, the Opera House is an Ambassador Theatre Group venue, and ATG are not exactly known for their stellar customer service. The house manager I spoke to was pleasant, apologetic, and very helpful to me, but she was clearly unwilling to take any action that would involve  directly asking these people to tone down their appalling behaviour, and that, I’m afraid, just isn’t good enough.

Oh yes, one more thing: the show, in Manchester, is being presented under ATG’s increasingly fatuous Manchester Gets It First promotional banner. That’s first, in this instance, after Sydney, Melbourne, Auckland, London, Toronto, New York, Sao Paulo,  Minneapolis, Cleveland, and St. Louis. And all of those venues got a more elaborate physical production than we did. Aren’t we lucky? We’re the first to get the cheap version. Big whoop.

This is a photograph of the front of one of the buses I took to get home this evening, taken so that I could get a record of the vehicle number. What you can’t see in this photograph is the driver – clearly one of First Manchester‘s finest – giving me the finger through the windscreen. Presumably this is what they mean in their customer promise when they pledge to provide “helpful, friendly driving staff”.

It hadn’t been a very successful evening. I’d got to the bus stop at the top of Oldham Street in Manchester at about 8.40pm, hoping to catch a bus towards Oldham. Between the 83 and the 183/184 services, there should, at that time on a Sunday night, be a bus every ten minutes. Nearly thirty minutes later (!), an 83 arrived (this kind of interruption in this particular service, unfortunately, is not at all unusual) – destination Sholver, so this was the 9.10pm service (God only knows what happened to the 8.50pm 180 or the 9.00pm 83, but that’s all part of the joy of travelling with First Manchester). There was quite a crowd waiting to board this service – this stop is the terminus – and as I boarded, there were a lot of people behind me who were also trying to get on the bus. In front of me, there was a woman who was trying to buy a ticket from the driver. In order to avoid creating a bottleneck at the door, I stepped around her while showing the driver my pass. You’d think this would be the sensible thing to do, right?

Wrong.

The driver didn’t like it. Oh no, he didn’t like it at all. He started shouting at me – I hadn’t said a word to him at this point – telling me off as if I was a naughty schoolboy. The best gem in his stream of invective was the part where he told me he couldn’t bloody multitask because he wasn’t a bloody woman. Now, yes, there is a way of delivering that line that would put a (sexist) comic spin on it – but no, he was deadly serious. It was a full-on tempter tantrum – one which other passengers commented on – and it was provoked by nothing more than my trying to step aside so that other people could step onto the bus. Since there were a lot of people trying to board behind me, I said nothing and took a seat; a couple of people behind me, though, did tell the driver he was out of order.

When the bus arrived in Oldham about thirty minutes later – I connect there to another service – I had a choice. I could get off the bus and say nothing, which would probably have been the wisest move, or I could tell this driver that I found his behaviour unacceptable and ask for an apology. On the one hand, given his temper tantrum when I boarded, clearly there was no way any complaint about his behaviour would end well. On the other hand, I am a paying customer, and I am not prepared to be yelled at for the heinous crime of stepping to one side while holding up a bus pass. I do, though, understand that sometimes people snap in the heat of the moment (because, really, my holding up a bus pass while simultaneously stepping aside to allow space for other people to step up onto the bus must have been so excruciatingly stressful for him that it’s a wonder he didn’t end up with PTSD), and I think it’s only fair to ask for an apology directly before putting in any kind of complaint – if he’d said sorry, that would have been that. There was, sure, probably also an element of my having just Had Enough after enduring day after day after week after week after year after year of appalling service from this company. And anyway,  First Manchester‘s complaints process, more often than not, is a waste of time – either they don’t bother to respond, or they send an insincere and sometimes badly-spelled letter of apology, and then three days later the exact same thing you just complained about invariably happens again.

So, when the bus had stopped at Oldham bus station, I went to the driver, told him I’d found his behaviour unacceptable, and suggested he owed me an apology. I didn’t raise my voice. I didn’t use bad language. I did, I suppose, offend him simply because I refuse to be bullied, but that’s not my problem.  The predictable result: more yelling. He doesn’t come to my workplace to tell me how to do his job, apparently, and I could bloody get off his bloody bus. During this rant – which went on for rather longer than those couple of sentences – he was pink and shaking with rage, and repeatedly jabbed his finger at me. Nice.

Again, let’s go back to First Manchester‘s pledge to provide “friendly, helpful driving staff”. This particular gentleman was so friendly and helpful, he must have undergone intensive training. When you encounter this level of rudeness, the management deserve at least some of the credit. This driver would not have started shouting in the first place unless he knew he could get away with it.

I got off the bus – I was getting off there anyway – and stepped in front of the vehicle (which wasn’t going to be leaving for a couple of minutes, there was a line of people waiting to board), and got out my BlackBerry to take a photo of the vehicle number on the front (on First Manchester‘s newest buses, this number is not clearly visible anywhere inside – it’s somewhere up above the driver’s head, and given that he was yelling at me and shaking with rage, asking him to move his head a bit so I could see the vehicle number was probably a non-starter). Guess what? More yelling, loud enough that I could hear it through the windscreen. I wasn’t going to take his photograph (I wasn’t trying to), and if I didn’t put my ****ing phone away he’d call the… whatever, that’s when I stopped listening and walked away. As I walked away, he gave me the finger; he’d already done so once as I was taking the photograph. Again, nice. Presumably there’s a page in his training manual which outlines in detail under exactly which circumstances that gesture may be employed.

Now, OK, asking for an apology, given his previous volatility, was probably “asking for it”. But this is a company whose front-line employees, again and again, seem to be under the impression that they are entitled to treat their customers like dirt (it speaks volumes for First Manchester‘s management that the vast majority of drivers can’t even manage basic courtesies like ‘please’ and ‘thank you’), and really, enough is enough. His original behaviour was thoroughly unacceptable, and I don’t have to stand there meekly and accept being yelled at for no good reason by some arrogant jerk in a tatty uniform who gets off on treating his customers like crap, just because he can. This evening’s experience, granted, was particularly bad, but it’s not as if rude drivers are at all unusual. Polite drivers are the exception, and they’re rare enough to be worth remarking on. This evening’s driver, though, was something else. For a start, somebody that angry is probably not fit to be in charge of a vehicle on the public highway, much less any kind of vehicle carrying paying passengers.

So, yes, I’m still waiting for that apology. I won’t be holding my breath. For First Manchester, awful customer service is simply par for the course, and unless they start employing people who know the difference between customers and cattle, that isn’t going to change.

Note – credit where it’s due: over the past week or so, the weather here has been dreadful, and has caused significant disruption on the roads; First Manchester have done a much better job, this year, of keeping services running through bad weather and keeping their customers informed than they ever have in the past, and that’s an encouraging sign. But today the snow was mostly gone, and services were running normally, and their impressive work over the weekend does not excuse or in any way mitigate the treatment I received this evening.

In fact, it works perfectly without them, although maybe a little differently. While every member of that original cast did superb work, Corden provided the kind of out-and-out comedy star turn that comes along far too rarely these days, and he dominated the reviews (and the awards nominations) so much that it was easy to get the impression, reading about the production, that it was basically The James Corden Show, which is more than a little unfair to the company that surrounded him. This time, with comedian Rufus Hound taking Corden’s role as Francis Henshall, the ex-Skiffle-player-turned-gofer for two on-the-lam criminals, the play’s balance changes. Before, it was a star vehicle with a very fine supporting cast; now, it comes across as more of an ensemble piece, and the other players get a little more of the spotlight. Hound, actually, is terrific, landing the physical comedy and the one-liners with equal aplomb, and he’s quick off the mark as well. Not everything that looks improvised in this show is quite as spontaneous as it seems – and when you see it for a second time, you’ll be anticipating some of the “surprises”, which actually doesn’t make them any less funny – but there certainly is plenty of unscripted interaction with the audience, and an enthusiastic college group from Pontefract meant that there was a little more of it this afternoon than there usually is. Hound works the audience beautifully, is never stumped for a one-liner, and is giving a performance of considerable skill and charm. He possibly doesn’t quite have Corden’s effortless star quality, but it doesn’t matter – he makes the role his own, and you never feel you’re watching a Xerox of his predecessor’s performance, which is all too often the case when you watch a replacement cast.

That’s true of the rest of the cast as well – they’ve all been allowed to put their own spin on their characters, and they’re all giving fine, funny performances. Unusually, the most skilful supporting performance in the show, possibly, comes from a woman whose character is not listed in the program, and whose role is confined to one scene in the first half… and to say much more would be to give too much away, but Alicia Davies does something quite difficult, and does it brilliantly well, maintaining the facade right until… well, to say much more would be to give too much away.

Also impressive: Jodie Prenger as the fabulously full-bosomed feminist book-keeper Dolly. Ms. Prenger has big shoes to fill – Suzie Toase was spectacular in the role in the original cast – and my God, she fills them, and her performance here is an object lesson in why it’s perhaps not a good idea to sneer too much at those cheesy reality casting shows. Here, as in her lengthy stint in Spamalot, aside from her powerful singing voice, she reveals genuine star quality, along with a wonderfully sharp way with a one-liner. Her comic timing, simply, is immaculate, and she proved this afternoon that she’s as quick with an off-the-cuff line as anyone else in this cast. Once upon a time, the TV reality show route wouldn’t have been necessary for someone like her, because musical theatre was full of opportunities for this kind of musical comedienne – but this is 2013, and that’s showbiz, folks.

I was surprised, actually, at how well the show as a whole stood up to a repeat viewing, given that so much of it is based on the comedy of surprise, and on seemingly-improvised bits that aren’t quite as spontaneous as they first appear. Bean’s script is extremely clever, giving the actors a fair bit of room to manoeuvure, but building each scene towards a comic payoff that does not depend on interaction with the audience. Nick Hytner’s seemingly bombproof direction also helps, as do Grant Olding’s surprisingly durable songs and musical interludes (there’s even a cast album – I bought it the first time I saw the show, and I’m surprised how often I find myself listening to it). It’s an out-and-out romp, a show that doesn’t have any purpose other than to give you a good time – but, actually, that’s just about the hardest thing to do in the theatre. Even on a second viewing, without the stellar original cast, this is a show that very definitely lives up to its own hype. These days, that’s far rarer than it should be.

Oh yes – purely coincidentally, on my way to the theatre I ate a hummus sandwich.

That makes it sound like it’s a terrible movie, I know, and it isn’t, although it isn’t perfect either. It is, however, very very long. OK, it’s about twenty minutes shorter than the stage version – but the stage version has an intermission. After an hour and a half, you can get up, use the bathroom, walk around, stretch your legs, or do ANYTHING other than watch people sob in tune about how downtrodden they are then get killed. In the film, after an hour and a half, there’s still well over an hour to go before you can move, and that break is missed. If you’re going to get full value out of spending pushing three hours watching people suffer and die to music, some respite, however brief, helps. A lot.

It’s not as if I didn’t know about the length going in. It’s a long time since I first saw the musical on stage, and I’ve seen it several times (in fact, three times in London, twice in Manchester, twice in Toronto, and once each in Paris, Prague and New York). I’ve seen the Royal Albert Hall and O2 Arena concert versions on television, I own a number of cast recordings from stage productions (although I only really ever play the ones in French), I’ve read the big glossy hardback book that was sold a couple of decades ago as a tie-in to the stage production. I am, in short, as familiar with the material, probably, as anyone who doesn’t identify as a ‘fan’ of the show could possibly be, and while I certainly wouldn’t describe myself as a ‘fan’, and can point out all kinds of shortcomings in the material, I enjoyed it on stage very much. I enjoyed it on film as well – but not quite as much as I usually do on stage. Tom Hooper’s film, I’m afraid, makes two things abundantly clear: one, that Herbert Kretzmer’s English-language lyrics for the show are dismally predictable, and two, that Trevor Nunn and John Caird’s thrilling, exceptional direction (still, I think, the best work either has done on the musical stage) was more responsible than you might think for the show’s impact in the theatre.

Here, unfortunately, we don’t have Trevor Nunn and John Caird. We have Tom Hooper, a large budget, brilliant art direction, sets, props, costumes and all the rest of it, and a lot of quick-cutting any time anyone sings counterpoint. ‘One Day More’ is a stirring piece of music, but on stage, when it’s sung well, it’s spine-tingling – and the film, I’m afraid, makes it crystal clear that that’s at least partly because of the stage picture, and the fact that, as the number progresses on stage, all of the various participants are right there in front of you, sharing the same space. You don’t just hear their counterpoint, you see it as well. Hooper can’t replicate that in the film, so he just keeps cutting between the different members of his cast, and the result, unfortunately, just doesn’t have the same impact. Because the sequence, as beautifully produced and designed as it is, is less thrilling than it was in the stage production, you pay more attention to the lyrics, and in this material that’s not a good thing (there is a reason I usually listen to the French recordings rather than the English ones – both French texts are much, much better); they tend towards the banal, and you’re usually two or three steps ahead of the rhymes. The material is what it is, and the stage show has been so extraordinarily successful that major changes were never going to be made – but film is a more literal medium than theatre, and this material’s flaws are far more obvious on screen than I’ve ever found them on stage.

Hooper’s best move, in fact, is his much-discussed decision to have his actors sing live on set, rather than pre-recording their musical material in the studio then miming their songs when the cameras roll. It’s a very definite stylistic choice, and it mostly works to the advantage of a principal cast who do not all by any means sing at the level that has usually been required of their counterparts in the stage show. The singing is often startlingly conversational, and all the better for that; these actors are all simply playing their scenes in song, rather than facing front and Delivering A Big Number. This is an enormous film, but it’s often, paradoxically, almost uncomfortably intimate; solo numbers are delivered as soliloquies, often in extreme close-up, and the singing, even from the strongest singers, is often somewhat ragged around the edges, because everyone involved is working within an aesthetic that privileges acting over purity of musical tone. I wasn’t sure I’d like this, but it works, and mostly works well.

Having said that, even given this very definite aesthetic choice, not all of the singing is unimpeachable. Hugh Jackman delivers an absolutely superb, thoroughly compelling acting performance as Jean Valjean, but his singing voice isn’t always the best fit for Valjean’s music (he’d never have been cast in the role in a stage production). He makes most of it work for him, but he’s defeated, I’m afraid, by the formidably challenging ‘Bring Him Home’, which sits in the least comfortable part of his voice, and which should have been transposed down for him. Amanda Seyfried’s Cosette is radiantly pretty and absolutely charming, but the music really demands a proper soprano, and she isn’t, and when she moves into her head voice her vocals are thin to the point of wispiness.

And then there’s Russell Crowe’s Javert. I know Crowe can act because I’ve seen him do it before, but it seems sometimes he simply chooses not to. Obviously, this is one of those times. He acts like he’s constipated, sings like he needs a good night’s sleep and a big dose of Sudafed, and in his hands Javert’s two big solos are by far the worst things in the film. It’s as if his adenoids showed up every morning and the rest of him stayed home.

Fortunately, Crowe’s is the only completely duff performance. Eddie Redmayne brings real fire (and a very strong voice) to Marius – not easy, since Marius in the musical is frankly a bit of a drip – and his fellow insurrectionists, led by Aaron Tveit’s Enjolras, are terrific. Samantha Barks is possibly even better as Eponine. It’s no surprise that she sings beautifully – she’s already played the role on stage – but she’s the only person who, in negotiating the film’s very particular aesthetic choices, manages to turn in a performance that’s completely satisfying musically as well as dramatically. Sacha Baron Cohen (an actor I usually very strongly dislike) and Helena Bonham Carter are a very welcome surprise as the Thénardiers – they don’t, thank God, fall into the trap of playing the comedy too broadly, they’re properly threatening when they need to be, and their ‘Master of the House’ is a sly, insinuating triumph.

Which leaves Anne Hathaway, whose work in the film has probably generated more column inches (and awards buzz) than everyone else put together. It’s a tiny role – maybe twenty minutes of screen time – but she grabs it with both hands and doesn’t let go, pulling a full-on Charlize as she charts the destitute Fantine’s descent into prostitution, and her eventual death from – well, something nasty and probably sexually-transmitted. She’s painfully thin, we see her getting all her hair cut off, and she has her teeth pulled (only the back ones, though, because she’s Anne! Hathaway! so we can’t make her look too ugly), and she sobs and gulps her way through ‘I Dreamed a Dream’ – the show’s most overplayed song – in a single, mesmerising take. It’s an absolutely compelling performance – although, in common with many of her colleagues, her rendition of her music is probably not the one you’ll want to take home and listen to on your iPod – and it’s undeniably moving, at least up to a point, but it’s also absolutely calculated, and blatant Oscar-bait. It’s the film’s showiest supporting turn, but Barks and Bonham Carter do more subtle, more interesting work, and other actresses, in stage productions of the show, have generated more emotional fireworks through this song via less overtly demonstrative performances.

William Nicholson’s screenplay shifts some scenes and musical numbers around and makes a few judicious trims, and does a generally effective job of translating the material into a form that makes sense on screen. There’s a new song – ‘Suddenly’ for Valjean, sung as he carries Cosette away from the Thénardiers’ inn, and it’s pleasant enough but not terribly memorable, although it’s one of Jackman’s better musical moments. Hooper does an efficient but not always inspired job of the crowd scenes, and does not spare the blood towards the end of the lengthy barricade sequence. And the crowd scenes, actually, provide one of the film’s greatest pleasures: this is through-sung pop opera, and the bit parts are luxury-cast with a who’s who of British musical theatre over the past 20 years. From Les Mis itself, we have Colm Wilkinson (original Valjean) as the Bishop of Digne and Frances Ruffelle (original Eponine) as a whore, and they’re both wonderful; beyond them, we have one-or-two-line turns from Daniel Evans, Hannah Waddingham, Marilyn Cutts, Bertie Carvel, Adrian Scarborough, Linzi Hateley and God knows how many others. The supporting/bit-part performances – and there are a lot of them – are consistently spot-on.

The film as a whole, though, is perhaps slightly less than the sum of its parts. It’s certainly enjoyable, and parts of it are tremendous, and the closing tableau of the dead and living mounting the barricade for a final rousing chorus of “Do You Hear The People Sing?” is as effective on film as it was in the theatre – but not everything preceding it is as effective on film as it was in the theatre, although the creative personnel involved here have all made consistently intelligent choices in adapting the stage production for a medium that makes a very different set of demands. Claude-Michel Schönberg’s music works well enough in the cinema, and stands up to the more conversational, less declamatory approach taken by the film’s cast. Yes, it’s all a bit relentless, and yes, a couple of individual performances aside, it has roughly the subtlety of a steamroller, but it works. It isn’t perfect, and the film’s soundtrack certainly won’t replace any of your cast recordings, but this is probably as good a film as could have been made from this material, and it’s head and shoulders above several recent-ish big-screen adaptations of hit stage shows. Yes, Hairspray and Phantom and Rent, I mean you. All of you. It also seems to work for people who aren’t ‘fans’ – at least, I saw it with a friend who has never seen the stage show, and he enjoyed it, albeit with some caveats.

Just take a cushion, or spring for the premium seats. Trust me, your buttocks will thank you.

This is a set of fridge magnets. It’s on sale in the branch of WH Smith on the main concourse on Manchester Piccadilly railway station. This display is helpfully located between the books for children and the soft drinks and sweets. It’s on a low rack, just about at eyeball level for your average six-year-old. It’s tacky and crass and totally inappropriate, and the individual who decided to display it there, in the area of the store where children are most likely to see it, pretty much has to be genuinely stupid.

It’s not, actually, precisely the word itself that bothers me. I certainly can’t claim that I never use it myself, although I do wince when I hear it used, as it often is, as either punctuation or a substitute for the word ‘very’. I don’t have a problem seeing it in print either, and I’m not particularly offended by it – but the word itself, here, is only part of the point.

What I do find offensive is the idea that a profanity with potent layers of meaning attached to it, that a significant number of people still consider to be an absolute taboo – it’s a word that, for example, I have never ever heard my mother use – should be devalued to the point where it can be plastered all over a set of tacky fridge magnets and put on sale in a newsagent’s shop between a shelf full of books for children and a display of sweets and Coca-Cola. I don’t have a problem, as I said, with the word itself – but context is everything, and in this context, it’s tasteless. Words, including this one, exist to be used – but words this strong need to be treated with respect.

No question, it’s one of the greatest musicals ever written, but My Fair Lady has never been one of my favourites. It’s got a glorious score, and an impeccably well-constructed, unusually literate book, but there’s something slightly uncomfortable about the show’s treatment of its working-class heroine (I have the same difficulties with Pygmalion), and about the central assumption that faking upper-class speech and manners will make Eliza a better person than she is at the beginning of the show (we all know the story, I’m not going to write a synposis here). I also, I’m afraid, have a long-standing aversion to chirpy dancing cockney costermongers, to the extent that if someone starts tap-dancing with their thumbs up I’m liable to break out in a rash. I admire the show very much, but I’ve never quite warmed to it.

That is, until yesterday afternoon, when I saw Daniel Evans‘ glorious revival at the Crucible Theatre in Sheffield. No, he hasn’t cut the chirpy cockneys, and no, he hasn’t changed a word of the script, and the things that make me slightly uncomfortable are certainly still there. He also never directs his actors to act around the material, which is how, for example, the National Theatre solved the problem of the final scene of Lady in the Dark. Instead, he’s done something far more interesting: via clever casting and an unusually intelligent approach to the text, he’s given us a My Fair Lady in which Eliza, by the end of the show, is every bit Higgins’ equal. This is the only version of My Fair Lady I’ve ever seen, on stage or on film, in which a continuing relationship (marriage) between Higgins and Eliza after the end of the show is not only plausible but believable.

A great deal of credit has to go to his two leads. Dominic West is a little younger than Higgins is usually cast, which helps; he’s also a formidable stage actor with a surprisingly durable singing voice which helps him to provide Higgins’ mostly talk-sung songs with some additional (and very welcome) light and shade. More importantly, West’s Higgins is essentially a slightly spoiled, overgrown public schoolboy, an upper-class intellectual geek who has difficulty relating to anyone other than other upper-class intellectual geeks. There’s a childishness to his petulance that makes him surprisingly appealing; when Eliza walks out, he crumbles, and his “I’ve Grown Accustomed to her Face” is extremely moving. He’s giving a very, very fine performance.

He’s matched – and surpassed – by Carly Bawden’s extraordinary Eliza. Bawden is equally convincing as cockney guttersnipe and princess, negotiates Loewe’s demanding music with magnificent ease – her rapturous “I Could Have Danced All Night” alone is worth the cost of the ticket and train fare to Sheffield – but she, too, finds something more interesting than usual in her role. As Bawden’s Eliza learns, she grows in stature, to the point where by the end of the show she is every bit Higgins’ equal in intellect, if not in book-learning. When she confronts Higgins after the Embassy ball, she brings real fire to the scene, and she follows through with a blazing “Show Me”.  And in the final scene, when Higgins again asks for his slippers, she stands opposite him, not moving, imitating his stance, as if to provoke him. This is an Eliza who, from that moment on, is going to give every bit as good as she gets. Bawden is a relative newcomer – though she was also memorably good in Kneehigh’s staging of The Umbrellas of Cherbourg last year – but she’s a name to watch. She has a glorious voice, comic timing that seems to be guided by laser, and enormous presence, and her work here is dazzling. If there’s any justice, this is a star-making performance, and it deserves a far wider audience than a five-week run in Sheffield.

But then, all the performances are terrific, from Anthony Calf’s good-humoured Pickering to Louis Maskell’s gloriously sung Freddy. There’s a cast of twenty-two – huge for a regional production – and they do an impeccably tight job of Alastair Little’s witty choreography. It would have been nice to have more than twelve musicians in the pit, but reduced orchestrations are inevitable in a regional theatre, and these are done tastefully enough. Paul Wills’ deceptively simple set offers only two basic settings – Higgins’ study, and a colonnaded space that can be Covent Garden market, a ballroom, a street, or Mrs. Higgins’ conservatory, depending on how it’s dressed – but the sumptuous costumes and Tim Mitchell’s subtle lighting combine to ensure that this is always a handsome production to look at.

Remarkably, it’s Daniel Evans’ first major musical as director; it won’t be his last, because this is a tremendously assured debut. It’s a difficult show with two formidably difficult central roles, but this My Fair Lady is an absolute triumph.