ajhlovestheatre

I can’t believe it’s been a whole year since I wrote one of these lists, but here we are. In 2023 I’ve seen 168 professional stage productions across a dozen international cities and towns, predominantly in London, but also taking in Paris, Dublin and New York. I’ve also made a conscious effort to get to more UK regional venues, something I’ve shamefully neglected in the past, and I’m so glad I made the effort, and can’t wait to get to even more in 2024. Sure, the capital is saturated with theatrical riches but I’ve loved exploring the unique stage delights of Manchester, Bath, Sheffield, Leicester, Chichester and others, and have encountered some really terrific work.

It has been quite the challenge to pick out the top twenty new (to me) productions of the year that I found the most exciting and enjoyable. It’s a hugely personal list, so there are some massively acclaimed shows that I haven’t got round to seeing yet (hello Almeida Cold War and the West End’s Stranger Things: The First Shadow), or that for one reason or another didn’t quite hit the spot for me.

The following selection didn’t quite make my Top 20 but were utterly outstanding and deserve honourable mentions. The Donmar has had a superb year, and although only one show made my list, the timely reconsideration of Lilian Hellman’s vintage anti-fascist drama Watch On The Rhine featuring an incandescent Patricia Hodge, Clyde’s, the Lynette Linton-directed British premiere of Lynn Nottage’s gritty but warm story of working class, post-penitentiary African Americans, and the current David Tennant hot ticket Macbeth, were/are entirely deserving of the critical acclaim heaped upon them.

The brilliant Linton, who is also building up an impressive screen cv, was one of the names bandied about to take over the running of the National Theatre, but that job went, as we know, to the hugely popular Indhu Rubasingham. So for now, Lynette remains, with her dynamic associate Daniel Bailey, at the helm of the Bush, that crucible of excellence in West London, which has enjoyed another dud-free year on their watch, championing Black British, Asian and other Global Majority voices of real quality and originality. A Playlist For The Revolution was a unique gem that looked at the effect of student demos on urban life in Hong Kong, the triumphant Red Pitch returned ahead of a richly deserved West End transfer in 2024, and the year closed out with a pair of fine, funny, bracingly intelligent monologues, Marcelo dos Santos’s Feeling Afraid As If Something Terrible Is Going To Happen with Samuel Barnett firing on all cylinders and Kwame Owusu’s refreshing, sensitive Dreaming And Drowning.

Other really exciting new writing I’ve enjoyed this year includes Nina Segal’s highly original, bitingly funny distillation of Ibsen in Shooting Hedda Gabler over at Kingston’s Rose Theatre, and the vibrant £1 Thursdays, Kat Rose Martin’s mouthy, big-hearted tragicomedy about modern female friendships, that nearly took the Finborough’s roof off late in ‘23. Soho Theatre hosted FlawBored in It’s A Motherf***ing Pleasure, an outrageously funny but thought provoking look at disability and the way it’s perceived, and Lauryn Redding’s delicious self-penned coming-out solo musical Bloody Elle.

The National’s Dancing At Lughnasa and the Almeida’s Portia Coughlan were magnificent revivals of poetic, sometimes harrowing Irish texts that were every bit as fine as their original productions. The latter was possibly even something of an improvement, partly down to a painful, coruscating performance in the title role by Alison Oliver, who coincidentally was also in Lughnasa. Another gem at the National, and still currently playing, is the uneven but hugely enjoyable new family musical The Witches, inspired by the Roald Dahl book with an inventive Dave Malloy score and a performance of breathtaking venomous camp by Katherine Kingsley as the Grand High Witch.

Further afield, Gina Beck’s luminous Maria in a lovely Chichester revival of The Sound of Music, and the compulsive but worryingly prescient French success Farewell Mr Haffmann, about Jewish persecution in Nazi-occupied Paris, in a UK premiere with a stellar cast at Bath, were both major highlights. In New York, I especially enjoyed Larissa FastHorse’s biting black comedy taking down political correctness and cultural appropriation The Thanksgiving Play (FastHorse is the first Native American playwright to be produced on Broadway) and the magnificent Ben Platt-led revival of Jason Robert Brown’s enthralling, quasi-operatic Parade.

The return of multi-award garlanded Groundhog Day to the Old Vic, the European premiere of the game changing Tony winner A Strange Loop and the West End upgrade for Operation Mincemeat all dazzled, delighted and deeply moved but none of them sadly make the list as they’re not “new” to me.

Anyway, about that list…..and it’s in alphabetical order, not necessarily preference…..

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1. ACCIDENTAL DEATH OF AN ANARCHIST – Lyric Hammersmith Theatre, London – ended 8 April, then at Theatre Royal Haymarket 12 June to 9 September

Daniel Rigby gave a heroic, ferociously energetic turn of astonishing comic attack and invention as the Maniac in this Dario Fo-Franca Rame police corruption 1970s farce brought bang up to date in this thrilling new version by Tom Basden. As chilling as it was hilarious, this co-prod with Sheffield Theatres ripped up the rule book most satisfyingly.

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2. A FUNNY THING HAPPENED ON THE WAY TO THE FORUM – Lido 2 Paris, Paris – until 4 February 2024

Equally inspired by the ancient Roman comedies of Plautus and old school American burlesque, this Sondheim-Gelbart-Shevelove confection is a non-PC delight in this glorious new production led by a perfectly cast Rufus Hound as Pseudolus. Cal McCrystal’s screamingly funny, lunatic vision honours equally the show’s Broadway roots and this Parisian venue’s storied history. A joy.

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3. A MIRROR – Almeida Theatre, London – ended 23 September – at Trafalgar Theatre, London from 22 January 2024

Jonny Lee Miller returned magnificently to the stage in this slippery, unsettling, ultimately jawdropping Sam Holcroft political thriller that turned the entire venue, in Jeremy Herrin’s shapeshifting production, into a kitschy wedding hall in a fascist state. As entertaining as it’s alarming, and with a terrific, catalytic performance by Tanya Reynolds, this is a must-see for anybody who missed it in Islington.

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4. DEAR ENGLAND – Prince Edward Theatre, London – until 13 January 2024

This National Theatre transfer is one of those rare, spinetingling theatrical events where literally every element – writing, performances, staging, design, concept – is in tune. James Graham’s terrific, rich play is ostensibly about football but is really about the state of the nation and where the UK stands in the world. Rupert Goold’s flashy production matches the epic sweep of the script, as does the cast led by an unrecognisable Joseph Fiennes as an uncanny Gareth Southgate.

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5. FAT HAM – American Airlines Theatre, New York City – ended 2 July

Gorgeous, inventive riff by African American writer James Ijames on the bard’s best known play. This is knowing, sassy, devastatingly witty, surprisingly touching and camp as Christmas. In this transfer from NYC’s Public Theater, Marcel Spears made an adorable Broadway debut in the title role, with a stunning (and Tony nominated) Nikki Crawford as his hi-glam, ball-busting momma. Surely a London premiere must be in the works?

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6. FUN HOME – Gate Theatre, Dublin – ended 1 September

Róisín McBrinn’s Irish premiere of this searingly beautiful Tesori-Kron coming-of-age/coming out musical based on Alison Bechdel’s pictorial memoir, was about as different from the NYC and London originals as it was possible to imagine. It was stunningly effective though, making the heart soar before breaking it. Frances McNamee and a career-redefining Killian Donnelly led a marvellous cast. A real workout for the tear ducts and the soul.

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7. GYPSY – The Mill at Sonning, Sonning Eye – ended 15 July

A wonderful surprise to find the brassy spirit of Broadway in a rural Thames-side water mill converted into a charming dinner theatre. Joseph Pitcher’s flawless account of this quintessential American backstage musical didn’t even feel scaled down so fresh and inventive was this take on it. Rebecca Thornhill led from the front as a more glamorous-than-usual Mama Rose with Evelyn Hoskins as an entrancing Louise. An absolute gem.

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8. LA CAGE AUX FOLLES – Regents Park Open Air Theatre, London – ended 23 September

Tuneful, romantic, risqué and with a great big heart, this Jerry Herman and Harvey Fierstein Broadway charmer felt almost like a new musical in this, the last production of Timothy Sheader’s tenure in the Park. Reimagined to be set not in the usual St Tropez but a seedy 1970s Blackpool, it was funny, saucy and entirely winning. Choreographer Stephen Mear proved again why he’s the best in his showbiz field. A tonic for the soul.

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9. MISS SAIGON – Crucible Theatre, Sheffield – ended 19 August

Freed from the bombastic constraints of the big Cameron Mackintosh stagings, Miss Saigon came across, in Robert Hastie and Anthony Lau’s high concept, video-heavy rethink as way more bleak and cynical in its depiction of war and the American involvement in Vietnam. Not as much of a tearjerker as earlier incarnations maybe, but tremendously powerful; one of many terrific new ideas was having a female Engineer, given a truly sensational performance by Boublil-Schonberg vet Joanna Ampil.

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10. NEXT TO NORMAL – Donmar Warehouse, London – ended 7 October – at Wyndhams Theatre, London from 18 June 2024

It took over a decade for it to get here from Broadway but it was sure worth the wait. A challenging look at mental illness and loss, powered by a driving rock score, Next To Normal hits with the emotional impact of a sledgehammer yet proves strangely exhilarating, especially in Michael Longhurst’s multilayered production. A flawless cast was headed by New York’s Caissie Levy delivering a full throated, open hearted tour de force that eclipsed memories of Alice Ripley’s less relatable, but Tony awarded, turn in the original. Fingers crossed Levy returns for next year’s West End run.

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11. ROMEO AND JULIE – National Theatre/Dorfman, London – ended 1 April – then 13 to 29 April at Sherman Theatre, Cardiff

Another Shakespeare riff, but this one closer to home. Gary Owen’s potty-mouthed, urgent modern love story was set on the unequal, unjust streets of the Welsh capital. Callum Scott Howells and Rosie Sheehy had us roaring with laughter one moment then sobbing into our programmes the next. Tough, angry but essentially sweet, this wrapped so much beauty and ugliness around a core of steel.

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12. SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY – Lyric Hammersmith Theatre, London – ended 22 July

On the surface, Jocelyn Bioh’s acclaimed off-Broadway comedy was a cheeky, warm- hearted satire on the way American culture permeates global lifestyles and attitudes, but it had a lot of pithy, sometimes uncomfortable things to say about outside influences on young Black womanhood. Monique Touko’s UK premiere was fully alive to all the humour, idiosyncrasies and inconvenient truths of the cracking script and was fabulously cast. Enchanting, bittersweet and surprisingly hard hitting.

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13. SLEEPOVA – Bush Theatre, London – ended 8 April

Yet another story of young Black womanhood, and this one equally fresh, surprising and delightful, but set in present day London. Matilda Feyişayo Inibi’s lairy, lovely look at female friendships and future aspirations was a total blast in Jade Lewis’s vital, tangy staging and featured a quartet of fine young actresses led by rising star Bukky Bakray in an assured debut. If Red Pitch is getting its West End transfer, can this be next please.

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14. STANDING AT THE SKYS EDGE – National Theatre/Olivier, London – ended 25 March – at Gillian Lynne Theatre, London from 8 February 2024

So many people couldn’t get into this during its brief National season after word spread about what a tear-stained, goose-bump inducing sensation this Chris Bush-penned musical distilled from Richard Hawley’s collection of bluesy, rocky, endlessly exciting songs, was. The upcoming West End transfer is likely to be a big fat hit all over again, as Robert Hastie’s stunning Crucible Sheffield production crosses the river, buoyed up by a well-deserved Best Musical win in this year’s Olivier awards. Unmissable.

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15. STEPHEN SONDHEIM’S OLD FRIENDS – Gielgud Theatre, London – until 6 January 2024

Cameron Mackintosh’s Christmas gift to discerning West End musical theatre lovers and Broadway babies everywhere, this is an uplifting, deeply moving, slickly produced look at Sondheim’s greatest hits. A couple of hours of showbiz heaven led by one of the great Steve’s muses, Bernadette Peters, with revelatory work from international MT superstar Lea Salonga, and a cast of some of the West End’s very finest, including Bonnie Langford, Janie Dee, Gavin Lee and Damian Humbley.

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16. SUNSET BOULEVARD – Savoy Theatre, London – until 6 January 2024

Already the stuff of showbiz legend, this was the moment pop star Nicole Scherzinger proved she is a musical theatre leading lady for the ages, in an unforgettable powerhouse turn as a drastically reimagined Norma Desmond in the melodramatic but intoxicating Andrew Lloyd Webber tuner culled from Billy Wilder’s cinematic saga of curdled Hollywood dreams. Director Jamie Lloyd created a thrilling, noir-ish multimedia staging, with roaring, frenetic Fabian Aloise and, in Tom Francis, a young male lead to make the angels weep. The whole show, but especially Scherzinger, will be talked about for decades. Broadway surely beckons in 2024.

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17. THE CURIOUS CASE OF BENJAMIN BUTTON – Southwark Playhouse, London – ended 1 July

Brilliant, inspired transformation of the F Scott Fitzgerald tall story of a man born old who ages backwards, into a magical, mystical Cornish folk tale, with real theatrical bite, a stomping, haunting score and a devastating emotional impact. Already glorious in its 2019 premiere, Jethro Compton and Darren Clark’s beautiful piece was expanded for this new version into an entrancing, deceptively ingenious full scale British musical that may yet turn out to be a true world beater.

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18. THE LITTLE BIG THINGS – @SohoPlace, London – until 2 March 2024

Based on Henry Fraser’s memoir chronicling his transformation from teenage sportsman to acclaimed painter via a life-changing accident which left him permanently in a wheelchair, this is a real original and a genuine treat. A new British musical with massive heart, showbiz flair, characters to root for, and thumping good tunes. Inclusive, exhilarating and even educational, it’s a real charmer. Take tissues, you’ll need them.

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19. THE MOTIVE AND THE CUE – Noël Coward Theatre, London – until 23 March 2024

A West End transfer was a no-brainer for this National Theatre triumph. Jack Thorne’s engrossing backstage drama about the conflicts and friendship between Sir John Gielgud and Richard Burton when mounting their now-legendary Hamlet in 1960s New York, is gossipy, elegant and compulsive. Sam Mendes’s opulent staging features astounding work from Mark Gatiss and Jonny Flynn as Gielgud and Burton respectively.

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20. THE SHAPE OF THINGS – Park Theatre, London – ended 1 July

Who could have predicted that Neil LaBute’s smart, slick and sick examination of coercive relationships and the boundaries of art would play so much better in 2023 than in its 2001 original outing?! In Nicky Allpress’s razor sharp staging this felt hot, urgent and relevant, and featured detailed, haunting performances from Luke Newton, Amber Anderson, Carla Harrison-Hodge and Majid Mehdizadeh-Valoujerdy. Essential, nasty and dazzling.