Bruce Norris’ Clybourne Park has moved neighbourhood with far more ease than any of its characters: from an award-winning run at the Royal Court, it now both shines and stuns in the West End.

A sharp satire on racial prejudice in America, Clybourne Park has its audiences squirming and laughing in equal measures, as its acutely drawn residents tiptoe and blunder through a minefield of race, prejudice, language and property.

The first act is set in 1959. A white couple have sold their Chicago home to escape the tragedy of their war-veteran son’s suicide. The buyers happen to be a black family, and the local residents association are virulent in their opposition. Alongside the harrowing spectacle of a couple destroyed by tragedy come the ghastly revelations of the neighbours’ racism, in full hearing of the black servants. In one toe-curling moment, Rotarian Carl (Stephen Campbell Moore) asks why you don’t see any black skiers; evidence, he believes, of differences that should continue through to their choice of housing.

In the second, we see the same Chicago house fought over by a young white couple in 2009. This time, the black Americans control the residents’ committee, and they want the cultural significance of the neighbourhood preserved. Or, do they just want keep white families out?

What might sound a little contrived actually packs more of a punch by showing us the same actors in different roles 50 years later. Norris’ dialogue is razor sharp, from the dated “yes’ms” of the 1950s to the politically correct rhetoric which ultimately collapses in on itself in the later act. “Half of my friends are black!” cries Lindsey (Sarah Goldberg), as the proud Lena (Lorna Brown, utterly convincing) provokes more and more outrage. The play peels away at liberal hypocrisy; eventually the ugly feelings and resentments explode in a show-down of shamefully racist jokes.

Add to this great script a phenomenal cast (Sophie Thompson shines as both put-upon 50s housewife Bev and myopic lawyer Kathy) who really draw you in with their slick, naturalistic performances, and you have a fantastically provocative show.

Clybourne Park plays at Wyndham’s Theatre until 7 May. Book tickets here.

Some opera news is sneaking its way into Thursday’s theatre slot: the co-creator of Jerry Springer the Opera is writing a new opera based on the life of American glamour model Anna Nicole Smith for the Royal Opera House. It sounds rather crazy, doesn’t it? You’ll have to wait until February next year to see the show, but the lead has already been cast: Dutch soprano Eva-Maria Westbroek will take on the role.

There’s also news of a transfer this week: Peter Hall’s production of Alan Ayckbourne’s Bedroom Farce opens at the Duke of York’s Theatre on 24 March. It comes to the West End following a successful run at the Rose Theare, Kingston last year. Sadly, it’s lost some of its top names: but Nicholas Le Provost, Jane Asher and Lucy Briers are replaced by the just as fantastic David Horovitch, Jenny Seagrove and Sara (“Philadelphia. Lovely.”) Crowe.

Two well-known faces from TV are joining the previously announced David Suchet and Zoe Wannamaker in All My Sons at the Apollo Theatre from May. Stephen Campbell Moore and Jemima Rooper will play the son and bereaved fiancée in Arthur Miller’s tragedy. You’ve probably seen Campbell Moore in The History Boys, doing stuff with the RSC, or in Ashes to Ashes or Wallis and Edward. And while Londoner Jemima Rooper will always be cool Nicki Sutton in As If for me; you might know her from Lost in Austen, Silent Witness or Hex.

You probably last saw Roger Allam dragged up, playing Zaza / Albin in the wonderful La Cage Aux Folles. This summer, he’s back on the London stage, playing a very different role. Allam is making his debut at Shakespeare’s Globe Theatre as Falstaff in the Dominic Dromgoole-directed productions, Henry IV Part I and Henry IV Part II. He’ll be playing alongside the hugely watchable Jamie Parker as Hal.

Of course, all the gossip this week has been about Love Never Dies. From five stars in the Independent to just two in the Times, plus a mauling among Phantom-loving bloggers, it’s certainly got people talking. It’s even divided people here at VL towers. I didn’t hate it, (Andrew Lloyd Webber’s tunes are lovely, some of the staging and design is fantastic, and the stars certainly give their all) but I must admit I was a little disappointed with the plot and the lyrics, and I definitely prefer the first Phantom!

Have you see Love Never Dies yet? Let us know what you thought in the comments below!