These are stirring times for Euan Rose, joint-creator of the heartswinning Brummie musical, Wallop Mrs Cox, which was launched at the Crescent Theatre with such success in 2000 that it has since enjoyed two full-house professional productions at Birmingham Rep - though oddly, it has never resurfaced at the Crescent.
But let's start with the Rose play 3-1-6 - which is shorthand for three people, one crisis, six days - that was given a workshop premiere at Birmingham's Custard Factory last year.
It has been taken on board by the Haymarket, Basingstoke, for a full-blown professional production that will run from February 24 to March 11 and be followed by a national tour and possibly its emergence in the West End. Producers plan to be in Basingstoke to see it.
All this has involved its author in a substantial rewriting exercise on his sexy thriller, based on what has emerged from the workshop and the rehearsals.
He told me: "The plot is now a lot stronger and so are the characters. There is a lot more tension in it. It has upped the stakes that everybody is playing for."
And the cast? That looks pretty impressive.
The story of a man, his wife and his mistress is now set to unfold through Michael Lumsden (Alistair Lloyd in The Archers, Tim Riley in The Bill and Simon Hearne in Casualty); with Sarah Manners (Becks in Casualty and the central role in The Tracey Andrews Story, the television adaptation of a murder in Alvechurch - just a few miles from Sarah's parents' home in Barnt Green - as his wife); and Natalie Rolls (Detective Sergeant Debbie McAllister in The Bill and many other television productions, including Men Behaving Badly) as his mistress.
Understandably, the man from whom it all stems can hardly believe what is happening. He keeps pinching himself to check that he is not viewing life through - er, Rose-coloured spectacles.
He says: "The Haymarket has a contract for television, film, radio and everything else. And I've enjoyed being part of the audition process at the Aldwych. It's absolutely wonderful. It's a lovely theatre to work in."
Alas, there's a downside. An Arts Council review means that there is a danger that the theatre will lose its financial support and could even close in the summer, at the end of the season. The decision, which is being preceded by a Save-the-theatre campaign, will be made on February 17.
Artistic director John Adams - who directed the two Birmingham Rep productions of Wallop Mrs Cox and that of Ridin' the No 8, the second Euan Rose-Laurie Hornsby
Birmingham-based musical - says: "We are deeply disappointed that the [Arts Council's] appraisal has been used as a mechanism to remove our funding and to bring to an end 30 years of regional producing theatre in Basingstoke."
Meanwhile, the next chapter in the success story of Wallop Mrs Cox is that the show is now destined for a 10-day return to Birmingham - to the Alexandra Theatre - in September.
This will be a foretaste of a six-week run there at Christmas 2007 and a possible Midlands tour in 2008.
The Midlands, alas, seems destined to be the only region that will see it. With the best will in the world, it is difficult to imagine West End audiences, or theatregoers elsewhere in Britain, sitting down to a couple of hours of unbridled Birmingham accents.
The characters in this story of generations of a family of Bull Ring stallholders in the last century are faithful reincarnations of the genuine article, but for people not accustomed to their unpretentious tones the temptation could be to laugh rather than to listen.
Wallop Mrs Cox, moreover, is also taking another direction altogether: Euan Rose is writing a novel that will enable him to expand on the citizens and the situations that the musical brings so graphically to life. The idea is that it will be released in September to coincide with the production at the Alex.
But at the moment it is 3-1-6 that is immediately on his mind.
"I'm up at four in the morning because I can't sleep. I'm so excited. Then I get down to the theatre and get the buzz and smell the coffee."
Like everyone else in the studio audience, I was enthralled last week by a one-man play that was new to me, by a writer I had never heard of - and most of all by the performance of the superb Simon Atkins in the Swan Theatre Amateur Company's production of Dennis Lumborg's One Fine Day.
He was playing a man unjustly suspected of abusing his children. In doing so, he brought the emotions of Eddie hilariously and movingly into focus, surrounded by vivid cameos of the other characters involved in the story.
Simon, head of drama at King's School, Worcester, could spread a great deal of pleasure - and gobsmacked admiration - on Sundays, with a mini tour of the region's little theatres.
Incidentally, after Google had enabled me to click on the author's name, it told me it couldn't find him. The wonders of cyberspace never cease to bemuse me.