That big Brummie musical, Wallop Mrs Cox, has delighted hundreds of West Midlanders since it was launched at Birmingham's Crescent Theatre in 2000, having since been presented twice at Birmingham Rep.
At the weekend, co-creator Laurie Hornsby, and Sharon Burns - who played the third Mrs Cox in both Rep productions - sang two of its splendidly reverberating numbers at the Symphony Hall celebration of St George, and on October 6 its complete musical score will be performed in a concert version at the re-opening of Birmingham Town Hall.
There are also high hopes that the full show will be seen again, in a major venue this summer. Alan Warner, who was involved in the Rep productions, is writing new musical arrangements to bring in more instruments and voices.
Euan Rose, Crescent member who wrote the book of the show, told me, "It's time for a new look at some of the numbers."
He is resigned to the realisation that Wallop is highly unlikely to hit the West End. There is no doubt that the show is Birmingham's Blood Brothers and Me and My Girl - musicals based in Liverpool and London, respectively - but while Central London's sophistication can accept both chipper Scouse and its own natural tones, it is not going to sit back and be pummelled by Birmingham accents for two hours.
Only this weekend, I heard a woman on Radio Five, discussing another subject, lamenting the very sounds that Wallop Mrs Cox wears like a badge of honour - though in some cases the show has given them the same strangely inadequate airing that we have become accustomed to hearing when they are required on stage, radio or television.
But Wallop is London's loss, and Euan Rose has other irons in the fire. Coming shortly is his The Sorry Tale of Charlotte Badger, a musical telling the story of a Bromsgrove girl who was on the first penal ship to Australia after being sentenced to seven years' transportation on her 18th birthday. The music is by Charles Townsend, a Bromsgrove magistrate and carpet retailer, with Gail Hutchison in the central role.
She was in Euan Rose's three-hander play 3-1-6, was recently seen as Mrs Meers in Wolver-hampton Musical Comedy Company's Thoroughly Modern Millie and before that was in Ridin' the No 8, the other Rose-Hornsby musical.
Charlotte Badger will be launched by Euan Rose's new company, The Silver Tankards, in the grounds of two Bromsgrove pubs - the Wishing Well and the Hop Pole - on June 16 and 17. There will be a performance at each pub on both days, with cast members pulling or riding on old farm carts from one to the other - and Bromsgrove's town crier declaiming the warrant for Charlotte's arrest for piracy in the interval.
Birmingham's MDCC Theatre Company will be at the mac with Jean-Paul Sartre's rarelyperformed classic, No Way Out, from Friday to Sunday.
The play shows three condemned souls brought to a mysterious room by an equally mysterious waiter. Instead of the racks, the pincers and the red-hot pokers they expect, they gradually come to the horrifying realisation that their hell is each other - because each will be the mental torturer of the other two.
A big thank you to a correspondent in the national magazine of the National Operatic & Dramatic Association for pointing out that whenever we talk about Cockney Eliza in My Fair Lady we are getting her origins wrapped round our collective necks.
Eliza is not a Cockney. Professor Higgins listens to her from behind a Covent Garden pillar while she is selling her flowers, and then says she was born in Lisson Grove - which runs from Marylebone to St John's Wood, to the west of Regent's Park.
And that's a long way from being within earshot of Bow Bells, Cheapside.
The same alert letter-writer also points out that Eliza's father, Alfred P Doolittle, is described by Higgins as being brought up in Hounslow, which is even further west - so he's not a Cockney, either.
The Grange Playhouse, Walsall, is the usual venue for the town's Fellowship Players' four productions each year - but since September the group has been celebrating its diamond jubilee season by tackling additional shows and taking them elsewhere.
Oysters and Snails, written and directed by group member Philip Holyman, will be "elsewhere" next month, with performances from May 16-18 at Rushall Community College.
It is the story of a property developer who walks out on his wife and moves in with someone described as a brainless nymphet who cannot be separated from her little puppet lamb.
His wife, naturally, finds a great way to retaliate. Let battle commence.
I had a wonderfully fruitful time last week, with visits to four shows, every one of them first-class.
There's no space to expand, but special congratulations to Coleshill Operatic Society (The Best Little Whorehouse in Texas), West Bromwich OS (The Full Monty ), Birmingham youth group Stage 2 (Much Ado About Nothing) and the Swan Theatre Amateur Company, Worcester (The Dresser).
Each one was a glowing testimony to the robust good health of amateur theatre.
How right was Shakespeare when he said that all the world's a stage. I am indebted to The Oldie magazine for a courtroom tale from the abundant store of Sir John Mortimer, QC, creator of Rumpole of the Bailey.
A prisoner was asked what he knew about something. He replied, "Bugger all."
The judge, who was a little hard of hearing, said, "What did he say?"
The clerk to the court replied, "Bugger all."
"Oh", said the judge. "I was sure I heard him speak." email@example.com