Watching a Jackson video today we see that, like Fred Astaire from an earlier generation, dance is not something he does, it is more a mode of being. That is to say he did not dance to the music, rather the music used his body to manifest itself by other means . . . the songs are true perennials, which on last night’s showing, have lost none of their appeal

★★★★☆ The Birmingham Royal Ballet uses the 1960 Frederick Ashton choreography with music by John Lanchbery whose score is adapted from that of Ferdinand Hérold. Colourful settings by Osbert Lancaster and the excellent Royal Ballet Sinfonia under Barry Wordsworth complete the package.

★★★★☆ Bourne’s greatest skill remains his ability to immerse himself totally in a score and play the notes with human gestures and movements in perfect sync. Prokofiev’s rich waltzes and occasionally discordant horns and strings have provoked some stunning passages in this presentation.

★★★☆☆ Cilla appears in virtually every scene and the drama depends not just on pure singing ability, but the skill to become a convincing character . . . Kara Lily Hayworth beat thousands of others in nationwide open auditions to get the lead role and a huge amount rests on her narrow shoulders. Audiences will not be disappointed; she is a star in her own right and inhabits Cilla completely.