It has been another great year of theatre and Emma Clarendon has had the difficult job of picking the best of the year…
A Little Life, Harold Pinter Theatre: this was one of the most powerful and emotionally intense productions that I saw this year, with a stellar cast doing a supreme job of bringing these characters to life. Having never read the book, I went into this show completely blind and it made a massive impact on me and on so many other audience members. Some might have found it hard going, but it actually did a really good job of bringing the heavy subject material to life in a sensitive way. A memorable production indeed.
Crazy For You, Gillian Lynne Theatre: what a gloriously classy and stylish old-fashioned production this was to witness! Everything was so well put together, it didn’t fail to leave a smile on my face and virtually had me dancing out of the theatre. Filled with gorgeous performances, Susan Stroman’s fabulous choreography and wonderful set design this was a wonderful piece of entertainment from start to finish.
Lemons Lemons Lemons Lemons Lemons, Harold Pinter Theatre: right at the start of the year, we were treated to this quirky and fascinating play that was just as lively and emotionally engaging as it was thought-provoking. At its core, what made this production so interesting to watch is the way in which it was the little details that were put into it, allowing for sharp focus on the characters and how they change over the course of the show. It certainly left you with a lot to think about.
Vanya, Duke of York’s Theatre: it is not easy to transform a classic play into a one man show, but together Simon Stephens (adaptor) and Sam Yates (director) managed it perfectly, keeping the pace and energy levels high from start to finish. But of course, at the centre of it all was Andrew Scott’s absolutely incredible performance in bringing all the characters to life to give the audience a whole new perspective brilliantly.
Guys & Dolls, Bridge Theatre: this immersive take on the classic musical was such a vibrant and fun experience that I will confess that I have seen more than once. By bringing the audience closer to the action it feels as though you get to know these characters on a much deeper level than in any other production. The orchestra also deserve massive credit for offering fabulous renditions of all the classic songs. It is definitely going to run for a while yet.
The Witches, National Theatre: while on some levels it lacks some of the darkness of Roald Dahl’s original book, there is no doubting this is gleefully fun musical that has much to offer children and adults alike. The creativity that has gone into the show in terms of the set and costumes feels suitably playful (particularly in the way in which the witches are exposed in their true form), while the young cast deliver charismatic performances from start to finish. It definitely comes highly recommended and I hope that this won’t be the last that we see of it!
Medea, @Sohoplace: stylish and enthralling are just two words I would use to describe this chilling reinvention of the Greek tragedy that was consistently sharp. Dominic Cooke knew exactly how to not only keep the tension going but even to increase it beautifully to leave audiences on the edge of their seats (even if they knew how it was going to end). Sophie Okenado was also a force to be reckoned with in terms of her performance as the central character.
Sunset Boulevard, Savoy Theatre: this innovative production of Andrew Lloyd Webber’s musical really captures the rawness and obsession with fame that lies at the centre of the story. By stripping it back in the way that he has, director Jamie Lloyd has allowed the music and the characters take centre stage, making it feel in many ways like a film noir – thrilling and with plenty of twists and turns along the way – no matter if you are familiar with the story or not.
Oklahoma! Wyndham’s Theatre: another musical revival that has shown how a classic story can be reinvented for a modern audience was Daniel Fish’s sexy and engaging take on the Rodgers & Hammerstein musical giving the story a whole new relevance. There was drive and focus throughout that meant it was easy to get swept away by the story that was unfolding. The new orchestrations by Daniel Kluger offered some really lovely moments, particularly when performed by the talented orchestra. It truly deserved its West End run.
The Time Traveller’s Wife, Apollo Theatre: I have to admit out of all of the shows that I have seen this year, this musical adaptation of Audrey Niffenegger’s novel and the New Line Cinema film really took me by surprise. I thought it was simply beautiful in terms of the music that captured the central characters beautifully and highlighted details from the book that may have been missed out on if done differently. I was really moved by the end and plan to go and see it again soon.
Stranger Things: The First Shadow: now as someone who has never seen the Netflix series I went into this completely blind, unsure of what to expect. I came out enthralled, amazed, slightly creeped out (ok…more than a little bit) and impressed with everything about this production (sorry no spoilers to be found here). Want to know more – go and see for yourself!
Macbeth, Donmar Warehouse: this is one chilling and atmospheric productions of Macbeth that I have seen, with its use of sound playing a vital part in offering a new perspective of the story: by getting into the heads of the Macbeth’s themselves. Max Webster’s production is sharp and focused, while the performances of David Tennant and Cush Jumbo are detailed and compelling to watch as the plot unfolds. Highly recommended.
By Emma Clarendon