A festive musical blends fairytale optimism with lush orchestration and Sound of Music sweetness – even if this often overwhelms a thin storyline

Reported to be the first Thai musical in 50 years, The Christmas Dream is directed by Englishman Paul Spurrier, and is an intriguing blend of new and old: a modern Oliver Twist that progresses from the country’s northern hills to Bangkok, with old-school Technicolor trappings and emotionally lush showstoppers aplenty (written by Spurrier and set to an orchestral score by Mickey Wongsathapornpat).

With a Michelle Yeoh-like resoluteness but half her size, Amata Masmalai plays 10-year-old schoolgirl Lek, who is forced to flee after her abusive stepfather Nin (Only God Forgives’ Vithaya Pansringarm) fatally beats her mother (Chomphupak Poonpol). Hitting the road with her one-legged doll Bella for company, Lek has only a strong moral compass to guide her to the new home she is promised by her mum’s ghost. A number of picaresque companions put it to the test, including a spoiled rich girl (Kathaya Chongprasith) desperate for a friend and a quack doctor (Adam Kaokept) hawking dodgy cure-alls.

It started out as a fringe musical about an outlandish war plan – and became a West End and Broadway smash. As the show hits China, Australia and Mexico, its ‘nerd’ creators explain how they went global with a box of hats and a dream

Natasha Hodgson is wondering what to make of all the straight women who have developed a crush on her. Or, to put it more accurately, all the straight women who have developed a crush on her when she’s dressed as a second world war naval intelligence officer and speaking in a silly voice. But is it really Hodgson these woman have fallen for? Or is it Ewen Montagu, the bombastic, braces-wearing war hero she plays in the hit musical Operation Mincemeat?

“The confusion is real,” says Hodgson. “These women come to the show believing themselves to be straight, then they have a total identity crisis. But hey – if that’s not what musical theatre is for, I don’t know what is!”

Bridge theatre, London
Stephen Sondheim and James Lapine’s fairytale adventure follows its archetypal characters into real-world emotion, brilliantly drawn and sung

Can Stephen Sondheim and James Lapine’s eternally imaginative Grimm brothers mashup ever disappoint, when its book is so clever and it is driven by the most gorgeous (if tricky) music? Jordan Fein’s production shimmers and shines with all the humour and pathos of these errant fairytale characters who misadventure into the woods, winding their rearranged stories around each other.

The show begins with swift efficiency, racing through some of the early songs, but it gathers feeling and there is picaresque fun. A witch’s curse inflicted on the Baker (Jamie Parker) and his wife (Katie Brayben) for the sins of his father can only be broken if they bring her Cinderella’s shoe, Rapunzel’s golden hair, Red Ridinghood’s coat and the milky white cow so dear to Jack (of the beanstalk).

Bristol Old Vic
An inventive production crammed full of puppets, sword fights and rousing melodies shrieks with life

It’s all aboard this Christmas with Jake Brunger and Pippa Cleary’s musical version of Robert Louis Stevenson’s novel, starting at a storytelling festival in a Bristol pub. Comedian Jayde Adams, as the landlady, welcomes us with the familiar jesting of her standup sets: “Alright, let’s get to know the room …” Eventually, the tale takes hold and time zips back to the 18th century, where bright-eyed, 13-year-old Jim Hawkins, reimagined here as a girl and played by Adryne Caulder-James, dreams of following in her late father’s footsteps and setting sail.

Luckily for her, that’s the way the story goes. Jim assembles a motley crew of sailors to search for the treasure once hidden by notorious pirate Captain Flint. Unbeknownst to them, they are joined on the ship by Long John Silver (a cackling Colin Leggo) and his evil posse, desperate to steal the gold for themselves. This sets the stage for an adventure crammed full of double bluffs, backstabbing and swashbuckling sword fights.

The Bridge theatre in London presents Stephen Sondheim and James Lapine’s classic this Christmas. Take a closer look – and revisit past revivals