Here’s a guide to some of our favourite theatre productions that we have seen this year…
Natasha, Pierre & The Great Comet of 1812, Donmar Warehouse: what a way for the Donmar Warehouse to finish the year on! This powerful, sexy and energetic production of Dave Malloy’s musical is well worth catching, mesmerising from start to finish it has high production values and memorable performances. If you can get a ticket, I would highly recommend!
Hadestown, Lyric Theatre: this hugely popular musical began performances in London earlier this year and it captures the poetry of the story of Orpheus and Eurydice beautifully. Anais Mitchell’s music is vibrant and intriguing to listen to as the story unfolds, while the production has a wonderful New Orleans speakeasy vibe to it that makes the story accessible to modern audiences.
Player Kings, Noel Coward Theatre: earlier this year, we caught this immensely enjoyable production that combines Henry IV parts 1 & 2 into one production. It wonderfully showed how a modern interpretation of Shakespeare’s plays can work really well. For those new to these Shakespeare’s plays it might have been slightly overwhelming but still be entertained by it, thanks not only to Ian McKellen’s performance Falstaff but to the entire cast’s impressive commitment to their characters.
Fawlty Towers – The Play, Apollo Theatre: taking a classic comedy and transforming it for the stage is never an easy thing to do – but I was pleasantly surprised by this stage adaptation of Fawlty Towers that provides plenty of memorable moments. Focusing on three episodes, the play ensures that all the key moments from the show are included, allowing the audience to feel closer to the beloved characters more than ever before.
DC Richard Head, Canal Cafe Theatre: this was a brilliantly funny one-man murder mystery show that was extremely inventive and creative to watch unfold. Written by Luke Rose, it effectively takes the audience into the mind of the detective as well as allowing them to participate in the solving of the murder. I hope that this isn’t the last that we see of this show.
The Producers, Menier Chocolate Factory: another joy to watch this year was Patrick Marber’s lively and immensely enjoyable production of Mel Brooks’s musical. It does impressively well production value wise particularly considering the size of the theatre, while the performances of the cast such as Andy Nyman, Marc Antolin and Harry Morrison ensure that the audience are thoroughly swept into the chaos and mayhem of the story.
Prototype, Old Red Lion theatre: Steph Darcey’s intriguing look at politics and the increasing rise in the use of AI technology through the experiences of a robot politician is both hilarious and insightful. It felt timely given everything that is going on in politics and hopefully it will get another London run soon.
Your Lie in April, Harold Pinter Theatre: based on the popular Manga, this was a beautiful little musical which certainly deserved a bit of a longer run. Telling the story of Kōsei Arima who has lost his ability to hear music in the wake of his mother passing away. While his friends Tsubaki and Ryota try their best to coax him back into playing the piano it is ultimately the arrival of young violinist Kaori Miyazono who helps him rediscover his talent while working through his feelings of grief, love and courage. It made for beautiful viewing, thanks to the performances of the cast and Nick Winston’s sensitive and poignant production.
Water for Elephants, The Imperial Theatre (Broadway): this year saw me paying a visit to my very first Broadway show and it was a captivating experience from start to finish. The music had a folksy charm to it, while the acrobatics and choreography are equally as stunning. It is a beautiful adaptation of Sara Gruen’s book that charmed me from start to finish.
Edward Scissorhands, New Victoria Theatre: Matthew Bourne’s productions are always magical to witness and this was the first time that I had experienced his take on the classic Tim Burton film. It is filled with heart that doesn’t fail to captivate and enjoyable to watch from start to finish. The production itself is suitably moody and atmospheric, while the dancers brought the characters vividly to life that made it a compelling watch.
By Emma Clarendon