My Theatre Review 2015!

I can hardly believe it’s the end of the year already! Time to look back at another twelve months of theatregoing and reflect on what was brilliant, what was unexpected (whether in a good or bad way!) and what I wish I hadn’t bought a ticket for. Thankfully there aren’t too many in the latter category!

Starting with the numbers, I’ve seen 63 productions, of which I’ve seen seven more than once, giving a total of 76 theatre trips in 2015. Not too shabby, although still an amateur compared to others I know! Overall, it’s been a very strong year and the thrill of seeing a new play, visiting a new venue or seeing an actor I was unaware of grab my attention, remains just as addictive as in previous years.

Productions of the Year – My Top 10

Without further ado, here are my top ten productions of the year. Feel free to let me know if you agree or disagree!

  1. Oresteia (Almeida / Trafalgar Studios)

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Perhaps a rather predictable number one this year is the Almeida’s new interpretation of Aeschylus’s 2,500 year old Greek tragedy. I missed it at the Almeida, but thankfully made it to the West End transfer. Simply put, this will remain one of the finest productions I’ve ever seen for a long time to come. Writer and director Robert Icke (now at the top of my must-see list) made such an ancient play current, while also delivering an exhilarating, powerful, intense and spellbinding production. The 3.5 hours flew by, as the whole audience seemed to hold its breath. Superbly acted, directed and designed, with set, lights and haunting sound combining to achieve something remarkable. It’s productions like this that remind me how incredible theatre can truly be.

2. Hello/Goodbye (Hampstead Theatre)

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This may not make anyone else’s top ten of 2015 but I adored this production of Peter Souter’s play, having missed it in 2014. Maybe it was my mood in February, but it tapped in to my emotions and was a story that truly moved me by the end (yes, I cried). Miranda Raison and Shaun Evans had a wonderful chemistry as they brought the story of the evolution of two people’s love for one another (even when they can no longer see it) over a decade to life in such a believable way. I’d see it again tomorrow if I could. Read my full review here.

3. Love’s Labour’s Won (aka Much Ado) (RSC, Royal Shakespeare Theatre)

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I still find it criminal that this beautiful RSC production didn’t transfer to London. Together with Love’s Labour’s Lost they made a wonderful bookend of stories around World War I, but this was my favourite of the two. The set was gorgeous, the costumes sublime and the cast excellent, led by a brilliant Beatrice (Michelle Terry) and Benedick (Edward Bennett). Ed has grown so much since stepping in to David Tennant’s Hamlet shoes in 2009 and is now a leading man in his own right. He was charming, funny and cocky and I loved every moment, making this my favourite Much Ado to date (sorry DT!). The DVD is available if you missed it and you can read my full review here.

4. City of Angels (Donmar Warehouse)

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I have a friend to thank for my ticket to this musical revival and how very grateful I am for her queuing skills! The songs were all fantastic and delivered with strength, confidence and power (where on earth is the cast album?!) and the design concept visually wonderful. I especially loved the use of black and white, against colour for the two worlds depicted and the strength of the cast was superb. Everyone made the whole production better, whether Hadley Fraser’s author, Tam Matu’s private eye or Katherine Kelly’s sexy black widow to name but a few. A truly impressive show and my favourite musical of the year.

5. Hangmen (Royal Court / Wyndham’s Theatre)

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Another production I managed to see on its transfer was Hangmen. I thought it was terrific. Martin McDonagh’s script is of the highest quality, filled with brilliant one-liners and exchanges and a twisting, turning story, during which  you never quite know where it is leading. The cast are all superb, especially David Morrissey, but the standout is Johnny Flynn as the mysterious southern stranger, whose motives are unclear, but who makes you feel distinctly uneasy. Combined with a fantastic set (not to mention that first set change) and this should certainly be one your 2016 list if you haven’t seen it already. Read my full review here.

6. Tree (Old Vic Theatre)

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My top ten of 2014 included my first experience of a production by Daniel Kitson and this year sees him back on my list with Tree. It was such a simple concept. Two men spend the duration of the play talking about their lives and what has brought them to be there (one waiting for a date, the other living high up in the branches!). Performed by Kitson and Tim Key it was funny, sad, inappropriate at times, but incredibly moving by the end and certainly made me think for a long time afterwards. Read my full review here.

7. The Ruling Class (Trafalgar Studios)

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Seeing the return of James McAvoy to this venue, again directed by Jamie Lloyd, I had no idea what to expect from this play (last seen in London in 1968). My lasting memory of it will be how utterly bonkers it was, but oh what a joy to watch! A superb, satirical look at the upper classes of privileged families I was captivated for the entire performance. Then of course there was James McAvoy himself, whose performance was one of the best I’ve seen all year. He had so much to do – crazed, vulnerable, angry, affectionate, flirty and disturbing, as well as taking on so much physicality. A production and performance I will never forget. Read my full review here.

8. Farinelli & The King (Sam Wanamaker Playhouse / Duke of York’s Theatre)

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I saw this new play by Claire van Kampen in both venues this year and I loved it each time. Part play, part music concert, it was one of the most enchanting and captivating productions I saw this year. Based on the true story that a famous singer who helped the depressed King of Spain in the 18th century, we were treated to the stunning voice of Iestyn Davies as Farinelli and the legend that is Mark Rylance. His King Philippe is one of a quiet disposition, but who is capable of moments of violent anger and intense sadness. He is also incredibly funny and I’d forgotten how funny this play was until I saw it again. Proving yet again that Mark Rylance on stage is something never to be missed, this was a gem of the theatre year. Read my full review here.

9. Rules For Living (National Theatre, Doorman)

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My first trip to the refurbished Cottesloe Theatre was to see this new play by Sam Holcroft and what a joy it was. I admit that it came at a time in the year when I really needed something to make me laugh and this ridiculous glimpse in to one family’s dysfunctional Christmas did the trick. I hadn’t laughed that much for quite a while. Seeing how our own internal rules govern our behaviour and responses to others, highlighted so cleverly through the gameshow style scoreboard was a wonderful concept and gave the audience the pleasure of knowing more than some of the characters. Plus the final food fight was brilliant! It’s just a shame this isn’t back at the National for Christmas! Read my full review here.

10. Husbands & Sons (National Theatre, Dorfman)

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Picking a final choice was quite difficult, but this tremendous new adaptation of three D.H Lawrence’s plays really did impress me (runner-up mention has to go to the RSC’s Henry V which I also very much enjoyed). Ben Powers’s play weaves the themes of all three plays together so perfectly, as we see the ongoing cycle, as women go from being the frustrated new wife unable to live up to the mother, to the mother being too protective and then jealous of the girl whom her son falls for, a role she perhaps once had herself years before. I loved seeing all three stories unfolding on stage at the same time and each was so well acted, containing some wonderful performances including Louise Brealey and Anne-Marie Duff. The staging and set were effective, suggesting each story occurring behind closed doors in one village and the use of the lightning rig to evoke a sense of the mine was a great touch. Crucially it’s a production I’ve continued to think about long after seeing it and one I would love to see again. Read my full review here.

Disappointments of the Year

There are bound to be some shows that sit at the bottom of the pile each year, but thankfully there haven’t been too many I’ve really disliked in 2015 and even those had aspects that I can appreciate even if they didn’t appeal to me. Having said that, my theatre year would have been fine had I not seen any of the below productions!

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  • How to Hold Your Breath (Royal Court Theatre) – Nothing else could beat this Royal Court show to take the title of worst of 2015 for me. Ten minutes in, I knew this wasn’t for me and it didn’t improve. I can appreciate some of the ideas and Maxine Peake was (as usual) very good, but it remains 90 minutes I’ll never get back. Read my full review here.
  • Matchbox Theatre (Hampstead Theatre) – The concept of combining lots of little vignettes in to one production could have been entertaining, but too many of these pieces were just boring or not that funny. I did like the one about stage management as nocturnal animals and the member of the orchestra with barely any part, but overall this felt incredibly pointless.
  • Carmen Disruption (Almeida Theatre) – This is another production for which I enjoyed some elements, but as a whole it just didn’t work for me. There were some strong performances (particularly Jack Farthing’s Carmen and Noma Dumezweni’s moving portrayal of a mother estranged from her children), but I found myself wishing I was instead just seeing Carmen. Read my full review here.

Productions I Was Sorry To Miss

Despite my best efforts, I never see everything on my list each year and 2015 has been no exception. These are the ones I’m most sorry I didn’t see this year.

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  • Young Chekhov (Chichester Festival Theatre) – I heard such wonderful things about this triptych of plays, with its wonderful cast. I hope the rumours of a London transfer prove to be true!
  • The Wars of the Roses (The Rose Theatre, Kingston) – Another triple bill I missed was Trevor Nunn’s restaged histories, which included one of my favourite actors Alex Waldmann.
  • People, Places & Things (National Theatre) – I had a ticket and couldn’t go to this highly praised production. However all is not lost, as it transfers next year to the West End and thankfully leading actress Denise Gough does too!

Performances of the Year

2015 has been an impressive year for individual performances, across musicals and plays and it almost seems unfair to only highlight a few. Below are my top leading and supporting performances of the year.

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Leading

  • Imelda Staunton (Gypsy) – a truly incredible performance as Mama Rose Lee, Imelda brought everything to this role and the way she hit those huge notes was astonishing! Watch it on BBC4 on 27th December if you can.
  • James McAvoy (The Ruling Class) – as I have already said, his performance was in another league to most others this year. Captivating throughout.
  • Ralph Fiennes (Man & Superman) – I’ve never seen anyone speak as fast and fluid as Fiennes here. The time of this play flew by despite the long running time and his performance was magnetic and incredibly memorable.
  • Lia Williams (Oresteia) – Lia’s performance as Clytemnestra was astonishing. Both a woman of strength and vulnerability, seeing her finally take the revenge she had stored for so many years against her husband was so intense and her scream of relief and anger was spellbinding.
  • Tobias Menzies (The Fever) – This one man monologue play in the Mayfair Hotel was an intense story and one I still don’t fully understand, but Tobias Menzies was superb and it was a privilege to watch him.
  • Susannah Fielding (The Merchant of Venice) – Rapidly becoming one of my favourite actresses, she was superb as Portio in this RSC/Rupert Goold production.

Supporting

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  • Johnny Flynn (Hangmen) – The standout of this play, Johnny’s performance is unnerving and darkly entertaining throughout.
  • Mark Gatiss (Three Days in the Country) – This performance was full of humour and fun and the scene in which he attempts to propose while also doing his back in was utterly brilliant.
  • Judi Dench (The Winter’s Tale) – I love Judi and she is excellent in this Shakespearean tale, bringing a gravitas to the production and effortlessly speaking the Bard’s words.

Memorable Moments of the Year

Each year also brings individual moments, which remind me why I love going to the theatre. It’s these that make live theatre unique – no one else will experience that moment in quite the same way. Here are my top theatrical moments from 2015:

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  • The daring nature of The Vote at the Donmar – a very British comedy, which was wonderful to see live and then watch again as it transmitted in real-time on television on Election Night.
  • Ophelia’s final exit in the Barbican Hamlet – this was the most emotional moment of the Cumberbatch Hamlet for me. Sian Brooke’s Ophelia felt very real; truly broken by grief and seeing her break down at the piano and then turn and walk off up the slope in to the light, as if towards heaven, as Jon Hopkins’s score played, was incredibly powerful and visually and emotionally beautiful.

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  • The split-level ship set rising up during Treasure Island – I was a little disappointed by this National Theatre show, but the ship set rising up from the drum revolve was a wonderful sight.
  • The final moments of The Red Lion – I thought this Patrick Marber play was very good, but it was the power of the final few minutes that I will remember. So poignant and powerful.
  • Experiencing The Fever in a Mayfair hotel suite with Andrew Scott sitting at my feet – okay, so this is more a memorable audience moment for me, but seeing such an intense play, with the added experience of having Andrew Scott sitting at my feet is something I won’t forget in a hurry!
  • A stage full of inflatable sex dolls – Shakespeare and sex dolls were a combination I never imagined I’d see, but it actually worked in this Young Vic production of Measure For Measure! Unexpected and surreal.

So, that’s my round-up of my theatre year and hopefully 2016 will bring even more special productions, performances and memories. My recommendations for 2016 will follow in the next few days! Thanks for reading!

 

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Theatre 2015: Mid-Year Review

So, as we arrive in the second half of 2015, I thought I’d take a moment or two to reflect on the first half of the year’s theatre offerings. I’ve probably seen less than I expected to, but 2015 is already shaping up to be a superb year for theatre, with some truly impressive productions and performances already on the list. I’m predicting my end of year top 10 review is going to be a tough one this year!

So, starting with the stats, I’ve currently seen 35 productions this year, seeing three of those more than once. As my post looking ahead to the year’s theatre suggested, there was lots to look forward to and from those I’ve already ticked off the list, 2015 certainly isn’t disappointing me so far. Some of the highlights are ones I expected to be high on the list, while others were unexpected gems that struck a cord with me and will become firm favourites for years to come. So here are my favourite productions and performances from the year so far, as well as the disappointments (thankfully not many so far).

Favourite productions of the year so far

Starting with the top of the tree are the productions that I absolutely loved and which will almost certainly make it in to my end of year top 10 list. It’s a varied mix, with new material, revivals of classics and a musical.

1. Hello/Goodbye (Hampstead Theatre)

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This may be an unexpected number one, but so far for me it’s easily Hello/Goodbye. Peter Souter’s new play ran at the Hampstead Theatre for a relatively short run last year and after missing it then I’m so pleased I caught it in the main space. In fact I loved it so much, I had to see it more than once. I knew nothing of the plot beforehand and its simple story of a couple’s relationship over a decade, told in two acts, struck a chord with me. Shaun Evans and Miranda Raison had a wonderful chemistry, thrown together when they both come to move in to the same flat. The script was witty, heartfelt, filled with unexpected curves in storyline and by the end I felt rather moved, as you were reminded of how the simplest of gestures are sometimes the most powerful. Read my full review here.

2. Much Ado About Nothing (RSC, Royal Shakespeare Theatre)

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This production of probably my favourite Shakespeare comedy become the best version of the play I’d seen immediately (sorry David Tennant!). The RSC is hard to beat when it comes to Shakespeare and this was certainly a production through which the home of the Bard truly shone. Bringing back some alumni from the 2008 season in the form of Ed Bennett and Sam Alexander (still two of my favourite actors), we were treated to a Much Ado set at the close of Word War One, in a stately home being used a hospital during the war. As the soldiers return from the Front, Beatrice and Benedick meet and sparks fly. Ed Bennett has truly grown as an actor over the years. As someone who was sitting tensely in the Novello during press night of Hamlet in 2008 when he took over for Mr Tennant, it’s been lovely to watch him develop and he is now a truly wonderful leading man and was a superb Benedick. Together with his sparkling chemistry with Michelle Terry, a strong ensemble (Sam Alexander creating the most three-dimensional Don John I’ve seen), wonderful music and an utterly gorgeous set that I could have lived in, this was a heartwarming three hours in Stratford-Upon-Avon. For those who missed it (it’s criminal there was no London run), the DVD on this and the equally lovely Love’s Labour’s Lost will be out later in the year. Read my full review here.

3. City of Angels (Donmar Warehouse)

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This revival of this musical at the Donmar Warehouse was another superb night at the theatre. The setting, both within the real world and the pages of the writer’s script was quirky and brought to life brilliantly by the design team, with the use of black and white/colour to depict them such an effective choice. It also had one of the strongest vocal ensembles I can imagine, with Rosalie Craig, Hadley Fraser, Tam Matu, Katherine Kelly and Samantha Barks to name just a handful, delivering perfect acting and singing. I’m still sad there was no West End run, not to mention no soundtrack released.

4. The Ruling Class (Trafalgar Studios)

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Jamie Lloyd’s second Trafalgar Transformed season continued with the return of James McAvoy, easily one of the best young British actors around at the moment. I had high expectations for this, which were only raised once the reviews and opinions of friends reached me. Thankfully The Ruling Class didn’t disappoint. It was very very funny, sometimes inappropriately so, entertaining, but also quite dark in places. All of which was driven at 100 miles an hour by McAvoy’s incredible performance. The part called upon him to give everything, mentally and physically – he sang, danced, screamed, cried, laughed and as an audience member you just couldn’t take your attention from him. Read my full review here.

5. Rules For Living (National Theatre, Dorfman)

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Having just ended at the National Theatre, Rules For Living was a new play by Sam Holcroft, which wonderfully lays bare the dynamics of a family during Christmas Day. Rivalries become apparent, secrets are exposed and relationships become ever strained, all the while presented in this colourful, gameshow style set up, in which the audience gain an insight in to the psyches of the characters and the rules by which they live their lives. It has drama and awkwardness, but my lasting memory of this production was laughter, which I very much needed at the time and it’s final scenes are classics that I’ll remember for a long time. Read my full review here.

6. Tree (Old Vic)

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One of my highlights of 2014 was Daniel Kitson’s Analog.ue and this new play of his at the Old Vic was an early favourite of this year. A two hander between Kitson and Tim Key, this play sees two men discuss life, with one remaining up a tree throughout! Short and sweet. I loved every moment. Read my full review here.

Stand out performances of the year so far As well as productions, there have already been some impressive individual performances.

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1. James McAvoy in The Ruling Class I’ve already sang McAvoy’s praises above so there’s not much more I can add here. The cast as a whole was excellent in The Ruling Class, but McAvoy was spectacular.

2. John Heffernan in Oppenheimer A play about the history of the creation of the first atomic bomb may not immediately sound like a fun night at the theatre, but this RSC play managed to bring what could have been quite a dry, scientific story to the stage in an engaging and entertaining way (you can read my full review here). This was in no small way also helped by the utterly brilliant John Heffernan in the title role, whose performance of Oppenheimer was his most commanding role to date and his final speech at the play’s close, as his character reflects on his achievement was certainly very powerful to witness. His career continues to excite and I am eagerly awaiting his next role – Hamlet anyone?

3. Imelda Staunton in Gypsy I was lucky enough to see Imelda Staunton’s award-winning performance in Sweeney Todd and thought I’d seen her at her best. How wrong I was! The transfer of Chichester’s musical to the Savoy in London was a welcome one and you couldn’t fail to be impressed by Imelda’s performance as Mamma Rose. She isn’t a hugely likeable person, domineering and putting ever more pressure on her children, to fuel her own lost ambitions. However, you still can’t help but admire her strength and passion and hearing Imelda Staunton belt out those songs will stay with me for a long time to come. Book your tickets while you can! Read my full review here.

4. Ralph Fiennes in Man & Superman This revival of Bernard Shaw’s play intimidated me beforehand due to its lengthy running time (nearer 4 hours in the early days). It was certainly a strange play, shifting between one setting and the dream-like setting of hell for the third act and it certainly needed a strong actor in the lead role. Ralph Fiennes is someone I’ve always wanted to see on stage and this was certainly a good start, as he’s in almost every scene. How he remembered so much dialogue, most of which he delivered at rapid pace, I do not know! As someone who was in the audience for the night filmed live for NT:Live, it was perhaps even more impressive to witness Mr Fiennes bringing such a unique role to life.

Memorable moments of the year so far

There have also already been some wonderful moments on stage this year, whether a set, a scene or a line and here are my favourites.

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1. Watching the Treasure Island ship set rise up through its split levels on the Olivier stage 

The drum revolve of the Olivier stage was used to its full potential during this production, as we watched the entire ship rise up and through the cross section design, were able to see the rooms on all the levels. It was truly impressive.

2. So much incredibly colourful dialogue in The Motherf**cker With The Hat 

I saw this production recently (review on its way) and one thing that will stay in the mind is some of the incredibly colourful dialogue! A scene in which Veronica refers to Jackie’s mother is particularly memorable. I bet the play text makes for entertaining reading!

3. The final few minutes of The Red Lion

Another production I’ve seen recently was Patrick Marber’s latest football-related play at the National. I’m currently writing my review but suffice to say I thought it was a superb production, powerfully acted. However it was the final few moments of the play that will stay with me for, I imagine, quite some time. Go if you can.

Disappointments of the year so far

There always tend to be some disappointments, but so far there haven’t been too many this year. Other than the first one listed, I enjoyed aspects of the other three, whether the acting or the production values, but these are currently bottom of the pile for 2015.

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1. How To Hold Your Breath (Royal Court Theatre) I love Maxine Peake and she was the reason I booked this play. I don’t regret it in some ways as she was very good. However, as my review at the time made clear, this was simply not my cup of tea. From the moment early on, when a simple one night stand becomes a case of someone sleeping with a demon, I knew I was going to struggle to enjoy it. Although I can appreciate what it was trying to achieve, it was simply too strange for me.

2. Carmen Disruption (Almeida Theatre) I’ve loved the recent run of Almeida productions (Mr Burns aside), but Simon Stephens’s reimagining of Carmen was another let down for me. At least unlike How To Hold Your Breath, I did enjoy aspects of the play – some wonderful performances by Jack Farthing and Noma Dumezweni as one example, but overall it just didn’t work as a whole and I left feeling quite dissatisfied.

3. Closer (Donmar Warehouse) I was unfamiliar with Patrick Marber’s most successful play, having never seen it or watched the film and perhaps part of my disappointment stems from expecting too much to begin with. The cast was my reason for booking, with Rufus Sewell, Oliver Chris and the glorious Nancy Carroll too good to miss. Although the cast was very good, I just didn’t really enjoy the play. Perhaps I was in the wrong mood on the day I went as it’s rather dismal view of relationships wasn’t something I particularly enjoyed.

4. Miss Saigon (Prince of Edward Theatre) So many people say Miss Saigon is the greatest musical of all time. I simply can’t agree (I doubt anything will beat Les Miserables for me). Although the sets were fantastic and the vocal performance of Eva Noblezada as Kim was incredibly impressive, I did not like the story at all. I found over night falling in love of Kim and Chris unconvincing and unlike Les Miserables ultimate message of hope, forgiveness and love, I just found Miss Saigon to be a depressing tale of a woman used by a man, who then is too much of a coward to face the consequences of his actions. Add to that the lack of any truly memorable songs (for me anyway) and it’s not one I’ll rush back to.

Looking ahead – Coming up during the rest of 2015!

After looking back, the adventure of a theatregoer never ends, with new productions opening and being announced all the time. So, it’s only right to look to what productions are on the horizon. It’s always an exciting feeling to wonder which ones will be as brilliant as you hope and which will be so much more than you could have anticipated. There is certainly a lot to choose from coming up, but for me, these are the productions I’m most excited or curious about seeing over the next few months.

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1. Hamlet (Barbican Theatre)

Yes, it may be the obvious choice for number one, but I’m very much looking forward to seeing Mr Cumberbatch take on the iconic role of Hamlet next month at the Barbican. It’s probably my favourite Shakespeare play and he has been one of my favourite actors for years, especially on stage. It’s an exciting ensemble cast (although it’s a shame none of my fantasy cast made the cut!) and I admit to having high hopes. All fingers are crossed!

2. Bakkhai (Almeida Theatre)

Coming soon to the Almeida is their next Greek play, bringing the combination of Ben Whishaw and Bertie Carvel together on stage. The Almeida has been bringing some truly inventive and exciting productions to London since Rupert Goold took charge and I’m sure this will be another success. More tickets go on sale soon.

3. Guys & Dolls (Savoy Theatre)

I missed this in Chichester and therefore I’m thrilled it’s transferring to the Savoy in December. The cast is yet to be announced, but I sincerely hope some of the Chichester cast come on board for this run. Time will tell.

4. The Winter’s Tale (Garrick Theatre)

This is perhaps the production from Kenneth Branagh’s season that I am most looking forward to. Opening in October, this production of Shakespeare’s The Winter’s Tale will include in its cast not only Mr Branagh but, more importantly for me, Dame Judi Dench. She is always wonderful to watch on stage and I’m sure this will delight many people during its run.

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So that’s the first six months of my theatre year in a nutshell. It’s now time to see what I’ll enjoy in the second half. One of the most thrilling things about being a regular theatregoer is never knowing what unexpected gems you’ll discover, whether an actor, writer, or play. See you at the end of the year for the final round up!

Theatre review – Tree by Daniel Kitson at the Old Vic

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One of my theatre highlights of last year was Analog.ue by Daniel Kitson at the National Theatre. I admit to not knowing who Kitson was, being unaware of his stand up comedy work or previous writing. After being so impressed by Analog.ue I was therefore very excited to experience another production by him. Staged in September 2013 at the Manchester Royal Exchange, this is the London premiere run of Tree, a play I knew very little about before seeing it yesterday. Analog.ue was even more enjoyable because it was somewhat of a mystery beforehand and this was certainly the same for Tree.

Staged within the cosy theatre-in-the-round configuration currently at the Old Vic, Tree is a two-handed play between two men, played by Tim Key and Kitson himself. One (Key) arrives by a tree on a quiet residential street with a picnic hamper, apparently late for a date. He is in fact early and soon has a surreal way to pass the time – by engaging in conversation with a man sitting up the tree (Kitson)!

Talking too much about what they discuss would give too much away, but over the 90 minutes their conversation sees each tell the other a story – one how he met his date and the other why he is up a tree! Kitson’s writing is yet again a joy. He manages to write a story that is incredibly witty, funny, moving and challenging and it is through these stories that we as an audience, as well as the characters themselves, find ourselves thinking about the choices we may make in our lives and the nature of commitment.

Tree is also superbly acted by both men, as Tim Key and Kitson spar and bounce off each other effortlessly as the dialogue pings back and forth. As with Analog.ue, it all feels very believable and very human. These really could be people you may meet (although in a strange scenario if one was up a tree at the time!) and it was a pleasure to spend time in their world.

Initially due to end yesterday, further performances have now been added for later this month and I urge you to go along if you have the time (plus top price tickets are only £16). It will make you smile, laugh and think about aspects of everyday life in a new way. I’ll certainly never miss a Kitson production from now on!

Additional performances of Tree at the Old Vic between 16 – 22nd February 2015 are now on sale. Further details can be found here.

Looking Ahead to Theatre in 2015

With a new year almost here, it’s that time of year for theatregoers to start looking forward to all the exciting and intriguing prospects announced, as well as planning strategies to nab tickets for those sold out or hot tickets! After four months out of the theatre loop, I’ve needed to do my research this year more than ever to make sure I know what’s coming in 2015. This year has been very strong and it looks like 2015 is shaping up to be just as thrilling, in London and the regions.

So, here are the productions I’m most looking forward to in 2015.

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1. Hamlet (Barbican, 5th August – 31st October)

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There couldn’t really be anything else at number one for me than the upcoming Hamlet at the Barbican starring Benedict Cumberbatch. As one of my favourite stage actors, ever since I saw After The Dance in 2010, it seemed only a matter of time before such a brilliant actor would want to take on Shakespeare’s most challenging role and I admit my expectations are already rather high! He’s now had a good amount of time to contemplate his Hamlet and I’m intrigued to see the choices he and Lyndsey Turner make as to setting and staging. With the run of 89 performances selling out as soon as public booking opened, this is certain to be the theatre event of the summer. I just hope that, as David Tennnat did with me in 2008, Benedict brings a whole new audience to Shakesepeare, who then become addicted to it! If you didn’t succeed in acquiring tickets earlier this year, then 100 £10 seats will be released for each performance nearer the time. Now to find out who else will be in this production. I’ve chosen my fantasy cast here and I really hope at least one of them could happen. Time will tell.

2. Oppenheimer (Royal Shakespeare Theatre, Stratford-Upon-Avon, 15th January – 7th March)

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Another actor who I would watch in absolutely anything and who I also first saw on stage in After The Dance is the brilliant John Heffernan, whose stage work just seems to get more and more exciting (with recent success in The Hot House and Edward II to name just two). This play centres around the development of atomic fission in 1939, as J Robert Oppenheimer (Heffernan) races to win the battle to create the first nuclear bomb as World War II continues across Europe. It may sound a bit heavy for some people, but with such a talented lead actor, I’m certain this will be a highlight of 2015.

3. Closer (Donmar Warehouse, 12th February – 4th April)

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Although I’ve still never watched the 2004 film version of Patrick Marber’s play Closer, whose star-studded cast of Natalie Portman, Clive Owen, Julia Roberts and Jude Law had lots of people talking before its release, it was still the film I was aware of raher than the 1997 play and so I’m thrilled it is being revived by the Donmar. For theatre fans the cast for the upcoming production is even more thrilling: Nancy Carroll (yet another After The Dance cast member!), Oliver Chris (fresh from his success in King Charles III) and Rufus Sewell (most recently seen in Old Times) are joined by recent RADA graduate Rachel Redford. Due to the Donmar’s size, the only ticket availability is now through the Barclays Front Row Scheme or returns, but this is certainly promising enough to make it worth the effort if you have yet to nab a ticket.

4. Bull (Young Vic, 8th January – 7th February)

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This year has been a great one for Mike Bartlett and 2015 could be just as successful, with two productions included in this list. I first saw Bull during its premiere run in Sheffield in 2013 and I’m thrilled it’s finally getting a London run at the Young Vic, with three of the four original cast (Neil Stuke replaced Adrian Lukis for the Broadway run and continues in the role in London). It’s short and sharp at only 50 minutes long, but its powerful office dynamics certainly pack a punch and Adam James, Sam Troughton and Eleanor Matsuura are bound to bring the same quality as I saw at the Crucible. One not to miss.

5. Tree (Old Vic, 5th – 31st January)

2850My first experience of a Kitson production was this year’s unique and moving Analog.ue, which has left me very excited to see his next idea brought to life at the Old Vic for its London premiere (following a staging at the Manchester Royal Exchange). The overview simply says this is about dissent, commitment, two people and a tree. I’m sufficiently intrigued and after finding the simple beauty of Analog.ue, both in terms of story and how it was told, incredibly moving, there is no way I can miss this.

6. Game (Almeida, 23rd February – 4th April)

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It’s another entry for Mike Bartlett, as he brings his latest play to the Almeida. The simple summary on the Almeida’s website gives very little away. We know this is a play about the current housing crisis and what price people are willing to pay to have a home of their own. Even more intriguing is the staging, with four different zones offering “equal, yet subtly different” perspectives on the action. The Almeida is certainly incredibly versatile for such a small theatre and this is shaping up to be yet another exciting viewing experience. Now to wait and see who will be in it – yes I admit I’m hoping for Adam James (who seems to be a staple part of Bartlett’s shows)!

7. The Ruling Class (Trafalgar Studios, 16th January – 11th April)

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Jamie Lloyd’s Trafalgar Transformed season at the Trafalgar Studios has, in such a short time, established itself as must-see theatre after so many brilliant productions since it began with McAvoy’s Macbeth last year. Coming next is a play I’m not very familiar with – The Ruling Class, a satire which looks at the foibles of English nobility after a possible paranoid schizophrenic with a Messiah complex, inherits the title of the 14th Earl of Gurney when his father passes away in a bizarre accident. Directed by Lloyd and starring James McAvoy, tickets are selling fast for this production, which sounds perfect for such a skilled actor. If you want a bargain, hold off for the £15 Mondays (the tickets for the Mondays of each month are released on the second day of each month at just £15 each).

8. The Hard Problem (Dorfman, National Theatre, 21st January – 16th April)

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Its been nine years since Tom Stoppard wrote a new play and this one arrives at the National Theatre’s newly refurbished Dorfman (it’ll still be the Cottesloe to me) in time to be the last production to be directed by Nicholas Hytner before he steps down as Artistic Director. All we know is that it centres on Hilary, a young psychology researcher at a brain-science institute, who is asking herself the “hard problem” – if there is nothing but matter, what is consciousness? With a cast that includes Olivia Vinnell (whose work in the NT’s Othello and King Lear have proven she is someone to watch) and Anthony Calf, I’m very much looking forward to this one.

9. The Vote (Donmar Warehouse, 24th April – 7th May and live on More 4 on 7th May)

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I’ve included this production here despite the fact I hold out little hope of seeing it in the theatre itself! James Graham has earned a great deal of praise with the political drama This House and this year’s Privacy, which shone a spotlight on technology and online security. The Vote could possibly combine the two, set in a fictional polling station during the last 90 minutes of polling day for 2015’s General Election. Will it be the same each show? Who knows, but what makes this even more thrilling and unique is that it will also be shown live on television (on More 4) on election night, so we can see it play out in real time on 7th May! You can’t get much more current than that! Tickets for the rest of the run will be available via a ballot, but at least we’ll all get to see it from the comfort of our sofas on 7th May!

10. Carmen Disruption (Almeida, 10th April – 23rd May)

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Another playwright whose work always impresses and excites me is Simon Stephens (whose Birdland made this year’s top ten for me and whose other recent work includes Seawall and the adaptation of The Curious Incident of a Dog in the Night Time). This could be a thrilling run for the Almeida, as this UK premiere follows Mike Bartlett’s latest offering and is said to be a reimagining of Bizet’s opera Carmen. From rock and roll in Birdland to opera? If anyone can do it, Simon Stephens can – I don’t suppose Andrew Scott can be in it can he?!

11. American Buffalo (Wyndam’s, 16th April – 27th June)

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I first heard that this production would be arriving in the spring of 2015 from the lead actor himself, when Damian Lewis excitedly announced it at the Times Talks interview earlier this year. Now more famous for his television success in Homeland (and soon to be seen in the BBC’s Wolf Hall as King Henry VIII), Lewis has not been on stage since 2009 and as I was unable to get to The Misanthrope, I won’t want to miss American Buffalo, a play about a pair of junk-shop workers plotting to steal a valuable coin collection. Directed by Daniel Evans, who has done such wonderful work in recent years as Artistic Director of Sheffield Theatres, I’m very excited to see this production.

12. Bugsy Malone (Lyric Hammersmith, 11th April – 1st August)

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Just when I thought a musical wouldn’t make the list, I hear about the Lyric Hammersmith’s production of Bugsy Malone! What a fantastic way to reopen the theatre after its redevelopment! The Jodie Foster film from 1976 is certainly very well known and it will be thrilling to see this gangster musical set in the Prohibition era of the 1920s brought to life with, as the theatre says, “a cast of exciting young talent.” 2014 has been a tough year for musicals, so I hope this one proves to be a success.

13. Death of a Salesman (Royal Shakespeare Theatre, Stratford-Upon-Avon, 26th March – 2nd May)

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2014 has seen me tick off two more Arthur Miller classics from my list of plays to see and thanks to the RSC next year, I’ll also be able to add Death of a Salesman to that list. To be directed by the brilliant Greg Doran (whose plays seem to be brought to life in such an accessible and clear way) and with a cast that includes well established stars Antony Sher and Harriet Walter alongside younger RSC talent such as Alex Hassell (currently Prince Hal in Henry IV) and Sam Marks, I’m looking forward to planning a trip to Stratford-Upon-Avon for this.

14. A View From A Bridge (Wyndam’s transfer, 10th February – 11th April)

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It would have been criminal not to include the transfer of the Young Vic’s utterly incredible production of another Arthur Miller classic. Mark Strong was one of the best performances of 2014 as Eddie, whose complex relationship with his family, particularly his niece drives the play. You cannot take your eyes off him and I have no doubt it will be the same when this production begins at the Wyndam’s in February. The main cast are all back for its West End transfer, including Nicola Walker and Phoebe Fox as his wife and niece. Get your tickets fast!

15. My Night With Reg (Apollo transfer, 17th January – 11th April)

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Another West End transfer coming soon is the transfer of the recent Donmar production of Kevin Elyot’s My Night With Reg. Set in a flat in 1985, everyone I know who saw this funny, yet bittersweet play loved it and so I’m so pleased I have another chance to catch it.

Sold out shows to keep an eye on

There are also a couple of exciting prospects which are already sold out, but I’ll be trying to get a return or day seat for if I can (the things you miss booking when in hospital!). So if you’re willing to not let the words “sold out” get in your way, keep these productions on your radar!

Man and Superman (Lyttelton, National Theatre, 17th February – 17th May)

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I’m not familiar with this Bernard Shaw play, but the description sounds very unusual and interesting and it marks the return to the stage of Ralph Fiennes as Jack Tanner, together with Faye Castelow (yet another After The Dance alumni!) and Nick Hendrix (last at the NT in The Light Princess).

Farinelli & the King (Sam Wanamaker Playhouse, 11th February – 8th March)

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Another production I’m wishing I’d booked, especially due to its short run, is Farinelli and the King at the Sam Wanamaker Playhouse. A true story about the world’s most famous castrato Farinelli, who is sent for to sing to the King of Spain to help his insomnia and depression, this production sees the return to the stage of Mark Rylance. I’m really going to need a strategy to get to see this now. Wish me luck!

Catch them before they close!

Of course there are also some productions that are already running and continue in to next year and which deserve a mention here too.

King Charles III (Wyndam’s, until 31st January) – My top production of 2014 by Mike Bartlett is worth catching if you can.

The Scottsboro Boys (Garrick, until 21st February) – I saw this at the Young Vic before its transfer and loved it. It is full of wonderful songs and dancing, while managing to movingly convey this true story of injustice in 1930s America.

Cats (until 28th February) – I still need to grab a ticket to this revival of Andrew Lloyd Webber’s feline musical. I saw it years ago and loved it and it’s certainly getting praise this time too. Former Pussy Cat Doll, Nicole Scherzinger, appears until 7th February.

Once (Phoenix, until 21st March) – Another one of this year’s top ten for me. If you have yet to see this utterly beautiful musical, you have until 21st March before it leaves London. I’m no Boyzone fan, but even I plan on going while Ronan Keating is in it in order to see it once again while I can.

The Curious Incident of the Dog in the Night Time (Gielgud) – As long as this play runs in London, it will always make my theatre recommendations list. It’s just that good. I’ve seen it in every theatre so far in London, so I’ll have to add the Gielgud to my list in 2015.

So, hopefully this list will include something for everyone, whether Shakespeare, or a short 50 minute show. There is already so much to look forward to and who knows what other productions will be announced as we start the year. Happy theatre-filled New Year everyone!!!

My 2014 Theatre Review

As 2014 is almost over, it’s time for my look back at my theatregoing year. I’ll start by saying it’s been far shorter than I’d have liked, as due to breaking my ankle, I’ve not been able to get to a theatre since August. As I try not to think about the productions I had to miss, I can at least look back at a nine months filled with some truly superb shows. In 2014, I managed to make it to 38 live productions, of which I returned to see 7 productions more than once, giving a total of 58 theatre trips. I also managed to tick another two productions off my archive list, by visiting the V&A archive to see the RSC’s 2011 production of Cardenio and the Royal Court’s 2007 production of Rhinoceros.

After much thought and in no particular order (apart from my number one, as ranking them further would be too big a challenge!), my top ten is below.

Top 10 Favourites

1. King Charles III (Almeida Theatre)

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Photo: Johan Persson

Top of my list this year is the superb King Charles III, which I saw during its original run at the Almeida. I’m a big fan of both Mike Bartlett’s work (his recent play Bull made it on to last year’s list!) and Rupert Goold and found this to be a refreshingly new and exciting play (see my full review here). A bit of a slow burner, but as the story progressed I became absorbed by it, wondering what direction Bartlett had chosen to take in this alternate United Kingdom. The brilliance here is also structuring it in the style of a Shakespearian History play! Filled with fantastic performances, particularly Tim Pigott-Smith, Oliver Chris, Adam James and Lydia Wilson, I loved that it dared to do something different and the ending was incredibly powerful. I must try and see the current cast at the Wyndams Theatre before it ends in January if I can.

2. The Pass (Royal Court Theatre)

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I wasn’t sure what to expect when I headed to the Royal Court Upstairs in February for The Pass. However, it didn’t take long for me to know that this was something very special indeed. The Pass centres on two friends at the early start of their professional football careers and follows their different paths, while also superbly raising the issue of what it would be like to be in such a world and perhaps by unsure as to what you really wanted in life and what really will make you happy, sexually or otherwise. Russell Tovey was truly incredible as Jason and commanded the stage throughout.

3. Birdland (Royal Court Theatre)

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More from the Royal Court, this time downstairs for Simon Stephens’s (whose Seawall topped last year’s list) new play Birdland. We are drawn in to the world of Paul, an international rock star whose 15 month world tour is reaching its conclusion. He can have anything or anyone he desires, but is that really enough anymore? Andrew Scott is always mesmerising on stage and he gave an absolutely phenomenal performance as Paul, tackling every imaginable emotion over the course of the play. He effortlessly moved from lighter moments to those which suggest a dangerous, darker side to Paul lurks just below the surface. It takes great skill to be able to be both emotional and emotionless in so short a time and Andrew Scott was more than up to the task. The set was also very clever and I left the theatre feeling very excited at seeing something new and powerful (feel free to read my full review here).

4. Once (Phoenix Theatre)

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I’d always quite liked the sweet indie film Once and had been meaning to go and see the stage version. Unbelievably it took me over a year but I’m so pleased I made it this year, especially during the time of Zrinka Vitesic and Arthur Darvill. They were both utterly superb. Zrinka had been in Once in London since it opened and this year justifiably won the Olivier award for her portrayal of this heart-warming character. She brought a perfect blend of playful humour, bossiness and tender emotion to the role and you instantly connect with her as soon as she steps foot on the stage. Arthur was also excellent as the Guy, who is at first bewildered by this whirlwind of a woman who has entered his life. After playing the same role on Broadway for a number of months he clearly understood the soul of the character and his chemistry with Zrinka was beautifully tender and romantic. Its warmth and magical spirit will make you laugh, smile and cry and will leave you feeling deeply moved. Try and see it if you can (my full review is here).

5. A Streetcar Named Desire (Young Vic)

Gillian Anderson is superb as Blanche
Photo: Johan Persson

It’s been a fantastic year at the Young Vic and the two standout productions for me both make my top ten. First is Tennessee Williams’s classic production starring Gillian Anderson and Vanessa Kirby. I’d never seen Streetcar before and this was certainly a superb production to start with. I loved the staging. As an audience member you can’t help but feel as if you are intruding on the innermost lives of the characters and there is a wonderfully effective, voyeuristic quality too, due to the rotating stage. I’ve admired Gillian Anderson for years and she was absolutely incredible. She drew the audience in so much to Blanche’s disintegration that by the end of the production I certainly felt exhausted and incredibly moved after having watched such a powerful and emotional performance (my full review is here).

6. A View From A Bridge (Young Vic)

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Photo: Jan Versweyveld

Another incredibly powerful night at the Young Vic this year was for the stunning production of Arthur Miller’s A View From A Bridge. Everything about this production was superb – the claustrophobic box set, the lighting, but above all the performances of the cast. Nicola Walker does a fantastic job as Eddie’s wife, who is growing ever more concerned about his attachment to their niece (also wonderfully played by Phoebe Fox). However, the standout performance is by Mark Strong, who is breathtakingly intense as Eddie. It is such a nuanced performance, through which we really see the depths of his character and he is certainly one of the finest actors I have seen on stage. This production is transferring in to the West End next year, so make sure to grab a ticket fast.

7. The Crucible (Old Vic)

Richard Armitage's Proctor confronted by the sinister children of Salem.
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From the Young Vic, to the Old Vic up the road for another Arthur Miller classic (and another first for me – my full review is here). This superb production also stands out for me as it was the last production I was able to see before breaking my ankle! South African Director Yael Farber’s powerful production particularly benefited from the current configuration of the Old Vic stage. Playing such an intense story on a smaller stage, surrounded by the audience was an inspired decision. Its deeply atmospheric, sparse staging by Soutra Gilmour, the effective use of light and shadow by Tim Lutkin, mist-covered entrances and terrifyingly eerie music score by Richard Hammarton, are all enhanced greatly by the almost claustrophobic atmosphere created by having faces gathered all around the stage. Richard Armitage has an incredibly powerful presence on stage and you could not fail to be moved by his portrayal of Proctor, as he moves from moments of sorrow, to weakness, intense anger, rage and delicate emotional vulnerability.

8. Rapture, Blister, Burn (Hampstead Theatre)

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Photo: Alastair Muir

I thoroughly enjoyed Gina Giofriddo’s latest play, focusing on the choices available to women today – career or family? marry or remain single? – and whether any of these possible choices will make you feel fulfilled or whether the grass is always greener. I found the scenes in which the history of feminism, the role of women and their relationships with men are debated incredibly absorbing and thought provoking and the performances of all five actors were excellent. However it was Shannon Tarbet as Avery who stole the show with some truly sharp and witty one-liners and who you couldn’t fail to like. A highlight I wasn’t expecting too much from before I went (my review is here).

9. Wolf Hall (RSC, Swan Theatre)

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Photo: Alastair Muir

I have owned Hilary Mantel’s Booker Prize-winning novels for a few years now and have never had time to read them. However I was thrilled to hear that Mantel herself was to adapt them, together with Mike Poulton for the RSC and what a brilliant production it was. I preferred Wolf Hall out of the two, but both this and Bring Up The Bodies were excellently acted, directed and conceived for the stage. On the smaller stage of the Swan, the plays seemed even grander, almost too big for the space, while keeping a wonderfully intimate feel. Ben Miles was utterly superb as Cromwell, who for each 3 hour production barely leaves the stage. I hope this finds just as much success on Broadway next year.

10. Analog.ue (National Theatre, Lyttelton) 

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Choosing a final production has proved quite difficult, with so much I’d enjoyed this year. In the end the top ten had to include Daniel Kitson’s latest part theatrical, part art installation show at the National Theatre as it was certainly a highlight for me and one which has stayed with me ever since. It was a unique story, which weaved together memories from the past with the present. It was incredibly moving and beautifully reminded me of the power of memory and how important memories of our past will be to us as we grow older or to those who come after us, offering them a glimpse in to a time long past. I even dug out an old recording of my grandparents, which I hadn’t listened to for years after seeing this. My full review is here.

Narrowly missing out on the Top 10

These are the productions that almost made it in to the top ten.

  • The Knight of the Burning Pestle (The Sam Wanamaker Playhouse) – A quirky, comic and fun production from the new Sam Wanamaker Playhouse. Having the grocer and his wife within the audience throughout is such a brilliant device, especially in such an intimate setting and truly engages the audience in a whole new way. You can read my full review here.
  • Richard III (Trafalgar Studios) – Martin Freeman’s intelligent Richard simmered with menace in another great Shakespeare adaptation from Jamie Lloyd.
  • Clarence Darrow (Old Vic) – Kevin Spacey was superb yet again as human rights lawyer Darrow in this impressive one-man show (see my review here)
  • 1984 (Almeida Theatre) – Another brilliant production for Rupert Goold’s theatre, as Headlong perfectly brought such an atmospheric and iconic book to the stage.
  • Coriolanus (Donmar Warehouse) – Another of the Bard’s plays ticked off my list in an engaging production with a strong cast led confidently by Tom Hiddleston.
  • Red Velvet (Tricycle Theatre) – After missing it the first time around, I loved Adrian Lester’s passionate performance as Ira Aldridge (see my review here).

Wonderful repeats from previous years

There are always productions I can’t help but see again another year, although this year there were only two, both of which were on last year’s top ten:

  • American Psycho (Almeida Theatre) – Rupert Goold’s first production in charge of the Almeida was a gloriously refreshing and exciting production, brilliantly led by Matt Smith. I still wish there had been a cast recording!
  • Richard II (RSC at Barbican Theatre) – This was certainly a production that grew over its run and by the time it reached London the cast were on fine form. David Tennant may not have been as strong as he was in Hamlet, but his Richard II was still wonderful to watch. Although for me, the stand out performance remains that of Oliver Rix as Aumerle.

Disappointments of the Year

  • A Small Family Business (Olivier, National Theatre) – Although there were some good performances, this play was too dated and dull for me and far too long.
  • Mr Burns (Almeida Theatre) – Although I enjoy seeing something that dares to be different, the third Act of Mr Burns was just too weird for me, making me wish I’d left after Act 2.
  • Slava’s Snowshow (Royal Festival Hall) – I was simply bored by this. Perhaps it’s more for kids.
  • The Mistress Contract (Royal Court Theatre) – Another production that was just a bit dull for me, despite two good performances.

Memorable moments in Theatre

There have been some wonderful moments that I’ve witnessed or experienced at the theatre during 2014, which included:

 A West End return – Seeing Angela Lansbury’s return to the West End stage at the age of 88 in Blithe Spirit and from the front row for only a tenner too!

 Martin Freeman commits brutal murder – Just when Martin Freeman’s Richard III didn’t seem that frightening, he kills his wife by strangling her over a desk with a telephone cord! After watching him cruelly stalk her around the room, watching him finally kill her was very chilling (especially from my stage seat).

 Kevin Spacey captivating an audience – Watching how at home Kevin Spacey looked, sitting in an armchair, at the centre of the Old Vic, surrounded by a rapt audience.

– The thrill of a first preview – Attending the first performance of Birdland and being reminded yet again how incredible Andrew Scott is on stage.

 Discovering a new young talent – Discovering Shannon Tarbet in Rapture, Blister, Burn, who I’m excited to watch in lots more to come.

 Site specific theatre in gorgeous surroundings – Experiencing voyeuristic theatre at the Langham Hotel for The Hotel Plays.

 The thrill of knowing you’ve seen something new and utterly brilliant – By the end of my first trip to King Charles III (on the second preview), it was thrilling to feel the excitement of seeing a superb new play, especially by the time it reached the glorious last scene.

 Visiting a new, fantastic theatre – My first trip to the Park Theatre, a theatre I’m sure I’ll be visiting a great deal in the years to come.

 Saying an emotional farewell – Joining in the emotional applause at the final performance of Once for Arthur Darvill and Zrinka Vitesic from the front row.

 Enjoying phones being used in a theatre – Enjoying the quirk of actually using your mobile phone during a production at the Donmar for Privacy. I doubt I’ll ever think that again!

All in all it’s been a fantastic, if somewhat curtailed year of theatre for me, in which I’ve seen some wonderful moments on stage by some of the finest actors working today. I am thoroughly looking forward to what surprises 2015 will bring (and I’ll post my top choices for 2015 soon)!

Daniel Kitson’s Analog.ue at the National Theatre

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This week I experienced my first Daniel Kitson performance. Much more than just a theatre performance Analog.ue is part theatrical performance and part art installation and is indeed something you truly experience rather than simply watch. For this latest show Kitson weaves together memories from the past with the present, which beautifully reminded me of the power of memory and how important memories of our past will be to us as we grow older or to those who come after us, offering them a glimpse in to a time long past.

Analog.ue tells us two separate but interlinked stories. One is of 77 year old Thomas Livingstone, who after years of pestering from his wife, is spending a day in his garage recording memories of his life on to tape, across the many machines his wife has bought him over their years together. The other is that of call centre worker Trudy, who after finding a portion of Thomas’s story as a child, has spent her life hoping she’ll learn more about the life she has listened to on a small section of tape for 30 years.

In this digital age, Kitson’s method of highlighting the past is brought to life through analogue tape recordings in a unique way that was wonderful to watch unfold.

Photo via Candatti

Just like Thomas in his story, Kitson has recorded his tale across 46 tape recorders, of various sizes and ages, purchased from junk shops and the internet and he spends the 90 minute show silently walking across the darkened stage, carrying the machines in to position, connecting the wires to the master operating desk and setting them to play in sync with the previous machine so the story (almost) seamlessly unfolds across the machines. The audience is also given a glimpse in to Kitson’s thoughts about creating the show through recording and slides. It’s interesting that he spends the whole time speaking to the audience but barely utters a word live. 

The experience is incredibly moving as we piece together the stories tape by tape, which are full of intricate everyday details, superbly described, that make the images come alive in your mind as you listen and by the end I felt very touched by the power of the past and had been reminded how much we should all cherish our own memories. It wasn’t clear when, but if Mr Kitson does one day give away the machines used for this production as he suggests, scattering them and his story around the country, if I ever see an old tape recorder for sale with the tape inside I may just have to buy it, as it may contain a snippet of this wonderful achievement and even if it doesn’t who knows what glimpses in to the past I may find.