Soho theatre, London
The co-host of Saturday Night Live’s Weekend Update delivers an expertly constructed set of jokes about her quest to live a more embodied life

After serving an eye-catching apprenticeship in live comedy, Ania Magliano’s profile has now surged as co-host of SNL UK’s Weekend Update, a spoof news bulletin recalling to viewers of my vintage the work of the great Two Ronnies. Would Messrs Corbett and Barker have capitalised on TV success with a standup show about learning to love their sex organs? They would not – but times have changed. Magliano’s new set about living a more embodied life has all the qualities – great jokes; open and endearing personality; and very expert construction – to woo to her stage work the new fans she’s secured by cracking wise on the small screen.

The issue for the 28-year-old is alienation from her own body and its experiences. In Peach Fuzz, she looks longingly at other cultures, so much more corporeal than our own. But then, living in the UK, are there any bodily sensations worth savouring? There’s one obvious answer – but Magliano is already in therapy for her ambivalence about that, which is suggested here by a marvellously British and uncomprehending routine about an online sex influencer claiming to have experienced 27 consecutive orgasms. A later scene finds Magliano prompted by her counsellor to commune with her own genitals via an artfully held hand-mirror – as I dare say Descartes did when first theorising the mind-body problem all those years ago.

At Soho theatre, London, until 4 July. At Monkey Barrel, Edinburgh, 7-22 August and touring until 7 May

Soho Theatre Walthamstow, London
The Drag Race star brings nuance to the vocals and has a hoot with a frisky script but this bio-drama is too limited and ultimately cramps her style

Drag Race fans already know that the series’ “queen of all queens” Jinkx Monsoon does a mean Judy Garland impression from her lurid account of a threesome with Dean Martin and Frank Sinatra. This revival of Peter Quilter’s 2005 play puts Monsoon’s Garland in a love triangle instead, caught between steadfast, gay pianist Anthony (Adam Filipe) and opportunistic, soon-to-be fifth husband, Mickey (Jacob Dudman).

It plays out in 1960s London as the decade, and Garland’s life, draw to an end. Quilter divides the drama between private and public, moving from the performer’s hotel suite to her residency at Talk of the Town, derailed by her drinking and a drug addiction that dated back to her teenage role in The Wizard of Oz.

As she takes on the icon in musical drama End of the Rainbow, Monsoon recalls a childhood spent watching Wizard of Oz on repeat – and explains why audiences are ready for trans performers in non-trans roles

If these are strange times in America, they are particularly strange for Jinkx Monsoon, the 38-year-old actor, singer and drag artist who, since winning RuPaul’s Drag Race in 2013 and Drag Race All Stars in 2022, has become a huge breakout star. Monsoon, who has the white-lead-and-vinegar glamour of a 1930s movie star, has appeared on Broadway, at Carnegie Hall and in countless viral clips from Drag Race – and in other words is widely well known. And yet, she says, when she walks down the street in certain American cities, it is in a state of “not knowing if someone’s going to recognise me and be excited to see me, or recognise something about me and be hostile. It’s a really interesting dichotomy.” She lets out a huge laugh. “But it also keeps me humble, I gotta say.”

We are backstage at the Soho Theatre in London’s Walthamstow, where Monsoon is shortly to appear in End of the Rainbow, Peter Quilter’s musical drama about Judy Garland, set in 1969 in the last months of the icon’s life. It’s a great role for Monsoon, whose impersonation of Garland on Drag Race was so spot-on the clips are still doing the rounds (although for my money, her Little Edie Beale was even better and funnier). But the show isn’t being played for laughs. Monsoon, who had a stellar run as Mama Morton in the Broadway production of Chicago three years ago, is increasingly leaning towards dramatic roles and, like Garland herself, is comfortable with the tragi-comic. “She’s a pillar, and an institution,” she says of Garland, in whom she became interested after watching the Wizard of Oz on repeat as a child. And because, she laughs, “my ex was obsessed with her”.

The Canadian performer visited hospices, mystics and cemeteries to research Age Is a Feeling. The show, which has now been performed in 10 languages, has reduced men in their 70s to tears

It is the summer of 2024 and Haley McGee is performing Age Is a Feeling at a festival in Toronto. Her show is in good shape, having already raked in five-star reviews at the Edinburgh fringe. But this performance is different. As she launches into her poignant monologue about life, death and the business of getting old, she hears a baby cry.

The newborn sleeps through the rest of the show, but the performer, who is newly pregnant herself, feels as though she is speaking directly to this child and its young family. “It framed the whole show as a conversation with this baby,” McGee says: “This is my message for you about your adult life.”

The Londoner from Lagos wowed the fringe with a show about language, family and cross-cultural identity. She talks about dread, dreams and her bid for ‘controlled chaos’

Before her first Edinburgh fringe run last summer, Ayoade Bamgboye put a question to her comedy friends: “How do you debut?” She recalls their advice: “You introduce yourself, and there’s a point of view. There should also be a narrative arc. And you need to establish who you are as a comedian.” This was a lot to hear. “It filled me with dread,” says the 31-year-old. “There’s this recurring thought that you can only debut once. If it falls flat, then you’re just a shit debutante, forever.”

Reader, Bamgboye avoided this fate, and then some. A fringe first-timer with a very slender comedy CV behind her, the Londoner-via-Lagos arrived at the festival with a fresh-minted show, Swings and Roundabouts, and left clutching the prestigious best newcomer award, as formerly won by Harry Hill, Sarah Millican and Tim Minchin. (She was the first Black woman to win the award.) It’s a ticket to the big time and Bamgboye is still reeling. “These past months have been very difficult, getting out of my head and out of my own way. That question of: why me, why this, why now?” Sometimes, only a cliche will cover it. “It changed my life,” says Bamgboye flatly. “I hate to say stuff like that, but it did.”

Long before her big-screen success as Elphaba, the British actor lit up the stage with performances in Sister Act, The Color Purple and other hit shows

From Chicago to Stan & Ollie, the Oscar-nominated actor has sung on screen for years. Now he arrives on stage – inside a trunk – to serenade the audience

In one of Hollywood’s nicer ironies, character actor John C Reilly finally made it big with a song about being invisible. His Oscar-nominated performance as the duped and devoted schmuck Amos Hart in Kander and Ebb’s Chicago was defined by his solo, Mister Cellophane. Director Rob Marshall had him sing it in an empty theatre so Amos doesn’t even get an audience for his big number.

More than 20 years later, Reilly has dusted off a not dissimilar tailcoat and rouged his cheeks once more under a new moniker, Mister Romantic, and this time there’s a full house. Backed by a four-piece band he is here to win our hearts with 90 minutes of jazz standards and popular songs, plus the odd chanson and comic verse. After a dozen or so dates in the US, the show has a short run this week in London at Soho Theatre Walthamstow, whose beautifully restored interior and history as a music hall fits Mister Romantic like a glove.