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With the Curve’s technical sophistication everywhere apparent and with knock-’em-dead performances across the board – hats off to David Leonard’s seedily alluring lawyer Billy Flynn, Sandra Marvin’s vocally magnificent Mama Morton and Adam Bailey’s triumphant tranny Mary Sunshine – this may not be a conventional Christmas treat, but boy does it end the year in high style.

Alison Rosamund King (born 3 March 1973) is an English actress and model.

I’ve always found Kander and Ebb’s vaudevillian evocation of a topsy-turvy world in which the wicked go free and the good get punished – and the female of the species proves more deadly than the male – a bit of a trial.

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In a musical obsessed with what goes on in the bedroom department, we get flesh-and-blood players, not a row of mannequins.

The writhing sensuality brings home the wild passion that drives the show’s murderous and rivalrous anti-heroines Velma Kelly and Roxie Hart (exquisitely played by Verity Rushworth and Gemma Sutton).

By contrast, this energetic, flashbulb bright, flesh-baring account embraces carnal activity with fervour.

The flawless high kicks are all present and correct, but the gymnastics are matched by a sense of gyrating, libidinous delight.

During her time there she got her first television role, playing Helen, a hair salon crimper, in two episodes of Brookside.

Before the conclusion of her three-year diploma, she was cast in the major role of Lynda Block in Sky One's Dream Team.

She played prominent roles for two independent films, Save Angel Hope (2006) and Back in Business (2007).

In 2000, she appeared in an episode of Cold Feet as "Girlpower", a seductive internet avatar.

Not very Christmassy – unless you feel that a musical dripping with cynicism chimes with the month of festive excess.

And arguably an unoriginal choice, given that it concluded a 15-year run in the West End not so long ago.

At the same time, though, it’s a sufficient departure to allow room for a reassessment.

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