Happy New Year!
I’ve looked back on my year of theatre in 2016, which means it’s now time to focus on what lies in store over the next twelve months. The good news is that there is already quite a lot to be excited about and below are 17 shows I’d put on your list for the new year!
1. Hamlet (Almeida Theatre, 17th February – 8th April)
There is so much I’m excited about regarding the forthcoming Almeida production of Hamlet. It’s my favourite Shakespeare play, directed by probably my favourite director at the moment, Robert Icke, whose Oresteia and current Mary Stuart productions are some of the finest plays I’ve seen and it will see Andrew Scott take the title role. He may be best known for playing Moriarty in Sherlock, but he is also a superbly versatile stage actor and I cannot wait to see what he and Icke come up with for this production. All it needs is a strong ensemble cast, which it is well on the way to having wth Juliet Stevenson and Jessica Brown Findlay and this has the potential to challenge the RSC’s 2008 production as my favourite. Can you tell I’m excited?!
2. Angels In America (National Theatre, from 11th April)
Ever since the National’s 50th anniversary celebration featured a scene from this play, I’ve been hoping it would return to the London stage and 2017 sees that happen. It’s such an iconic award-winning play, which made such an impact originally in the 90s and this revival promises to be very special with actors including Denise Gough, Andrew Garfield, James McArdle, Nathan Lane and Russell Tovey announced and directed by Marianne Elliot. Tickets will go quickly for this. You have been warned!
3. Don Juan In Soho (Wyndham’s Theatre, 17th March – 10th June)
2017 also sees David Tennant return to the stage and this time it’s not Shakespeare. For me, he is one of the finest stage actors we have in the UK and I’m very excited to finally see him live on stage performing a non-Shakespeare role. Patrick Marber’s play is described as a savagely funny and filthy play, which has me intrigued to say the least! Directed by Marber and also starring the brilliant Adrian Scarborough, the only question for me is just how many times I’ll see this show over its run!
4. Hamilton (Victoria Palace Theatre, from November)
The juggernaut that is Hamilton finally arrives in London late this year at the Victoria Palace (which is undergoing refurbishment in advance of becoming the hottest theatre spot in town). I have heard so much about this show, but have resisted the urge to listen to any music from it before I see it. With crazily expensive tickets for the New York run, hopefully the London production will be a little easier to get in to!
5. Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre, 22nd February – 27th May)
After her performances in Sweeney Todd in 2012 and Gypsy in 2015, I’d go and see the incredible Imelda Staunton in anything! Next on her list before Gypsy heads to Broadway is this production of Edward Albee’s play. Also starring Conleth Hill (now better known as Varys in Game of Thrones), this promises to be another gem in the 2017 calendar.
6. the ferryman (Royal Court Theatre, 24th April – 20th May)
The Ferryman makes the list even though it is technically already sold out. This does not mean it should be ruled out however (I for one will be queuing as long as it takes for returns after failing to book this fast enough)! Jez Butterworth’s reputation for brilliant and exciting theatre was established with Jerusalem, but I also loved The River and I’m intrigued to see what is next. The production will also mark the Royal Court directorial debut of Sam Mendes.
7. Obsession (Barbican Theatre, 19th April – 20th May)
This year also sees Ivo Van Hove, whose recent productions of A View From A Bridge and The Crucible both made quite an impression on anyone who saw them (including me) directing one of three Toneelgroep Amsterdam productions at the Barbican. Jude Law leads a cast of Dutch and British actors in Visconti’s drama where two people’s attraction to each other leads them to plot murder. This season as a whole is on my must-see list, but I’m rather intrigued by this one in particular.
8. The Goat, or Who Is Sylvia? (Theatre Royal Haymarket, 24th March – 24th June)
Spring also sees two of Britain’s finest actors, Damian Lewis and Sophie Okonedo together on stage in Edward Albee’s The Goat, or Who is Sylvia? Described as a dark comedy, I am rather excited about seeing these two together and directed by Ian Rickson too!
9. Woyzeck (Old Vic, 6th May – 24th June)
Woyzeck isn’t a play I’ve seen before and therefore I’m thrilled to be able to have a chance to tick this highly regarded piece of literature off my list. Set in 1980s Berlin, John Boyega (now of Star Wars fame) tackles the story of a young soldier on the border of East and West trying to build a better life for his family. This new version of Georg Buchner’s classic has been written by Jack Thorne, whose recent hits include This Is England for the screen and the Harry Potter play.
10. Speech & Debate (Trafalgar Studios, 22nd February – 1st April)
Stephen Karam’s play The Humans was one I’d hoped to see next time I was in NYC (sadly I’ll miss it), but I will at least be able to see Speech & Debate when it arrives in London in February. Billed as the story of three misfits, brought together at school by a sex scandal, with hilarious consequences, I’m looking forward to seeing Douglas Booth and Tony Revolori (Zero in The Grand Budapest Hotel) tackle this play.
11. 42nd Street (Theatre Royal Drury Lane, 20th March – 22nd July)
I can tick another classic musical off my list this year with the arrival of 42nd Street, the story of a young woman who, after joining the chorus line of a musical, may get her chance of stardom when the leading lady lady suffers an injury. Starring Sheena Easton as Dorothy Brock, this production will also be directed by Mark Bramble, the co-author of the original book of the production. I’ll be curious to see where this ranks in my list of musicals.
12. The Glass Menagerie (Duke of York’s Theatre, 26th January – 29th April)
I’ve still yet to see The Glass Menagerie on stage and so I’m pleased this version of Tennessee Williams’s play is transferring from Broadway at the end of this month. Director John Tiffany’s (also director of Harry Potter & The Cursed Child) production was highly regarded in New York and will again star Cherry Jones as the matriarch Belle Amanda Wingfield.
13. Paul Auster’s City of Glass (Lyric Hammersmith, 20th April – 13th May)
Regarded as a seminal American novel, I’m looking forward to a trip to the Lyric to see this new adaptation, which is billed as using ground-breaking stagecraft, projection, magic and illusion to tell the story of a reclusive crime writer who becomes drawn in to a thriller after receiving a call in the middle of the night from someone in need of a private detective.
14. Touch (Soho Theatre, 6th July – 26th August)
I didn’t get to see Fleabag last year, but after the acclaim it received, as well as for the BBC series based on the play, I’m certainly adding Touch to my 2017 list, as it is by the same creative team. Starring Amy Morgan, it’s the story of a 33 year old woman trying to find her way in London.
15. Tribes (Crucible Studio, Sheffield, 30th June – 22nd July)
I thoroughly enjoyed the original run of Nina Raines’s play at the Royal Court in 2010 and so I am looking forward to seeing this new regional premiere in Sheffield over the summer. The story of family life, where the son is deaf is very funny, but also incredibly moving and explores perfectly the desire we all have to be heard and understood.
16. Antony & Cleopatra (RSC, Royal Shakespeare Theatre, Stratford-Upon-Avon, 11th March – 7th September)
I’ve always struggled a bit with this play, but I’ll certainly be heading to Stratford-Upon-Avon for this production, which will see one of my favourite RSC actors, Antony Byrne take on Marc Antony. Byrne was wonderful in the original Richard II in 2013 (and very much missed by me in its revival this year) and also in Henry IV and V and it’ll be fantastic to see him again performing Shakespeare.
17. Sex With Strangers (Hampstead Theatre, 27th January – 4th March)
The Hampstead Theatre has certainly come a long way since Edward Hall took the helm in 2010 and I’m very much looking forward to seeing its first production of the new year. Laura Eason’s comedy sees two people, very much opposites of each other, stuck together in a B&B in the snow, who find themselves undeniably drawn to each other. I enjoyed Emilia Fox’s performance in Rapture, Blister, Burn at this theatre in 2015 and so it’ll be lovely to see her back, in a production that also stars Theo James.
So, those are some of my suggestions for this year on stage. I could have picked so much more, with theatres including the Bush Theatre and the Young Vic already setting out exciting seasons. Then of course there are all the shows yet to be announced! Finally, there are some shows that opened last year, but which are well worth a trip if you can see them before they close. A few examples are:
- Love’s Labour’s Lost & Much Ado About Nothing (Theatre Royal Haymarket) until 18th March – the London transfer of the RSC’s gorgeous double-bill is not to be missed. With a lot of the cast returning, including Edward Bennett and Sam Alexander, they are perfect at this time of year. Go, go, go!
- This House (Garrick Theatre) until 25th February – This superb National Theatre production sees a new run in the West End. Set in the 70s as Labour cling on to power before Thatcher, it’s a brilliantly sharp and funny glimpse in to Westminster. Having seen the current cast in Chichester over the autumn, I can say it’s just as strong as it was originally. Review here.
- Hedda Gabler (National Theatre) until 21st March – My review will be up laster this month for this exciting modernisation of Ibsen’s play. Ruth Wilson is yet again superb and there are also wonderful performances from Rafe Spall and Kyle Soller. This was so close to being in my top 10 of 2016, so I urge you to go. Yes, it’s sold out, but there is the option of Rush tickets on sale on Fridays for the following week’s shows and returns will pop up, so keep checking.
- Mary Stuart (Almeida Theatre) until 21st January – One of my highlights of last year was this play which sees Lia Williams and Juliet Stevenson swap roles as Mary Stuart and Elizabeth I. It’s an exciting production from director Robert Icke and is another must-see. Again, it’s sold out, but there are day seats of every performance and I’ve usually been successful in the returns queue at this theatre in the past.
Hopefully there is something on the list that you are interested in. As always, I’ll be adding reviews of shows as I see them and so please do pop back any time!
Having already chosen my top ten productions of the year and my favourite performances of the year, for my last 2016 theatre review post I wanted to look back on my most memorable moments at the theatre in the last twelve months. These are the moments that have stayed in my mind, whether a set, scene or personal experience while seeing a show.
The mind-bending set change at the end of Wild (Hampstead Theatre)
I had heard so many people talk about the staging of Mike Bartlett’s Wild before I arrived at the Hampstead Theatre and that final set change was certainly a sight to be seen! Watching one set change in to another, much starker one was already impressive and then it started to rotate! I admit I was a little distracted from the actual scene itself. Top marks to the set designer and stage management team for this feat.
Watching the cast of Unreachable do all they could to make each other corpse during their final show (Royal Court)
I’d hoped to see Unreachable twice, but had to miss my earlier trip, meaning my only visit was to the final show. Seeing the final performance seemed to heighten the hilarity, as a number of times the cast, particularly Jonjo O’Neil, were trying to throw their fellow cast members off. It was very very funny and one of the most fun trips I’ve had to the theatre.
My return to the wonderful world of Punchdrunk (Sleep No More, NYC)
A Punchdrunk show is always an experience to remember and Sleep No More in NYC was no exception. From the first moments of making my way in to the venue in darkness, to exploring the eerie and intricate rooms and levels, where I sampled the sweets in the shop and leafed through the books on the shelves, right through to my own one-on-one experience with one of the cast, I had a great time. I only hope it’s still there on my next trip.
Genuinely feeling as though someone was behind me blowing in my ear at The Encounter (Barbican)
From immersive theatre to sensory theatre with my trip to Simon McBurney’s one-man show The Encounter. Using special technology (including the head in the photo), he was able to transport us in to the rainforests of Brazil. The moment he had us close our eyes and then created the effect that someone really was behind my right ear, blowing on it, was astonishing. The possibilities for audience interaction in future shows is very exciting indeed if such experiences can now be created.
The magical illusions in Harry Potter & The Cursed Child (Palace)
The most eagerly awaited show on the planet was just as much fun as I’d hoped (and I’m not even a huge Potter fan) and one of the biggest thrills of the theatre year for me was seeing the illusions achieved in this production. I especially loved the entrance to the Ministry of Magic. The cast must be on skates or something backstage to get from one part of the stage to another so fast! A treat for young and old alike.
Watching Glenn Close in Sunset Boulevard from the centre of the front row (London Coliseum)
Glenn Close as Norma Desmond was a performance I’d been looking forward to since it was announced and on seeing it, I just had to go back for a second time. I’m still amazed that this wasn’t a total sell out, but the fact that a week before, I was able to buy a front row ticket was unbelievable. Having Close stand so close to me and deliver that performance was a real thrill for me in 2016.
Saying goodbye to War Horse and Groundhog Day at their final London performances (New London and Old Vic)
I was lucky enough to be at the final London performances of both War Horse at the New London Theatre and Groundhog Day at the Old Vic in 2016. The first show was closing after over nine years, during which it has delighted and moved so many audiences and it was lovely to hear author Michael Morpurgo’s words of thanks to its cast and crew. On the other hand, we’d barely had Groundhog Day in theatreland before it was off to prepare for Broadway. I loved the show (it’s my favourite of 2016) and being able to say a fond farewell to it, from the front row no less, was a joy.
Experiencing the enthusiasm of New York audiences for Shakespeare during the RSC’s King and Country tour (BAM, NYC)
This year also saw my first trip to NYC since 2012 and it was filled with a great deal of wonderful theatre. However, one of the things that truly stood out was during my time at the BAM Harvey Theatre in Brooklyn, where the RSC was showcasing its King and Country cycle. Having seen it in both Stratford-Upon-Avon and London, I was surprised to experience the plays in a new environment. Antony Sher has talked about how the New York audiences were more enthusiastic and I agree with him. There was a new kind of excitement in the venue and lines received an audience response they hadn’t in the UK, which in turn had an effect on the actors. From chatting to other audience members, many had read the plays before coming and had a genuine enthusiasm for the plays. It was wonderful to be a part of it.
Being given a reminder of how precious time and life is by Gavin Plimsole (Greenwich Theatre)
One of the new theatres I visited during 2016 was the Greenwich Theatre and I was rather moved by its show The Inevitable Heartbreak of Gavin Plimsole. As we journey through the last part of Gavin’s life, depicted by marbles dropping through a chute after a certain number of heartbeats, the audience was reminded of how precious life is and how we should not take it for granted. At the end of the show, we each opened a box. Mine had a marble in it for me to keep. I have kept it in my handbag ever since. Sometimes it is the smallest shows that make the biggest impression.
There were so many special moments for me in theatres this year, but those are the ten that have stayed with me the most as I sit here and reflect on the last twelve months. Next I’ll be looking ahead to the productions I’m most excited about in 2017, which I hope to post very soon. If you have some moments that have stood out for you, let me know about them in the comments!
Although there are a few days of 2016 left, I’ve very likely been to the theatre for the last time this year and so it’s time for one of my favourite posts – my theatre review. It’s always lovely to reflect on another year of theatregoing and all the wonderful productions I’ve been lucky enough to see over the previous 12 months.
Due to a few weeks with a bad cough during which I didn’t go to the theatre (I refuse to be that person coughing through a show!), 2016’s final tally was just 70 different productions; 12 of which were musicals (a record I think for me), with the rest being plays. As with any year there are always some repeat visits and in 2016 I saw 11 shows more than once. Although this year saw me take a long overdue trips to New York for 11 days of theatre (that seems to be the magic number for me this year doesn’t it?), I’ve actually been to very little regional theatre in 2016 and I’m determined to improve this over the next twelve months.
2016 has been a very strong year of theatre for me, with those containing a strong female performance particularly standing out. I’ve seen very little that has truly disappointed and nothing that will be added to my all-time worst production list. So, below is my top ten productions of the year. Before the year is out, I’ll also be posting my list of 17 shows to see in 2017 so please do pop back to have a look and let me know what your theatre highlights have been this year!
Productions of the Year – My Top 10!
1. Groundhog Day (Old Vic)
There could only be one show at the top of my 2016 list and that’s Groundhog Day, the new musical based on the film, which premiered this year in London, before departing after only its ten week run to prepare for Broadway (previews start in March). I had been sceptical about a musical of this 1993 film (one that I’d not been a huge fan of to begin with). On seeing it for the first time however, I knew this was something very special indeed and I loved it every time I went (well if any show warrants repeat trips it’s this one). The colourful sets helped bring the community of Punxsutawney to life, and the book by Danny Rubin with Tim Minchin’s music and lyrics were a joy. It managed to be both very very funny and deeply moving over the course of the show, as Phil Connors gradually becomes a better man. Of course, the show needed a strong lead to anchor it and Andy Karl was utterly superb as Connors. He was able to portray a man who was both irritating, but still likeable and someone you were rooting for by the end. Yes, I intend to go to NYC to see it, but in the meantime, Mr. Minchin, please release a cast recording! You can read my full reviews here and here.
2. People, Places & Things (Wyndham’s)
I missed this play during its original run at the National Theatre, but was able to see it when it reached the West End earlier this year. It certainly lived up to the hype, with Denise Gough giving one of the finest stage performances I’ve ever witnessed. As Emma, the young woman dealing with a drug and alcohol addiction, Gough pulled you in to her world and didn’t let go until the end. Very few theatre performances have as strong an emotional impact as this one and her Olivier win in April was truly deserved. I know this will be a performance I talk about for years to come. Full review here.
3. Sunset Boulevard (London Coliseum)
This time last year, one of the most anticipated events of the 2016 theatre calendar was Glenn Close’s return to the role of Norma Desmond, one she performed on Broadway over 20 years ago (and one she will take back to NYC in 2017). I’d never been to the Coliseum, but it was the ideal venue for this unique staging of Andrew Lloyd Webber’s musical. “Semi-staged”, there was very little set; instead the focus was on the performances and the full ENO orchestra on stage. Fred Johanson was excellent as Norma’s loyal butler, as was Michael Xavier as Joe Gillis. However, this was always going to be Close’s show and she was superb. In fact I loved it so much I had to go again and being on the front row that second time is an experience I will never forget. Full review here.
4. Eclipsed (John Golden, NYC)
My trip to NYC this year was designed to be a theatre-fuelled holiday and it certainly was! I saw some excellent productions during my time there, but the one that stands out and makes this top ten is Danai Gurira’s play Eclipsed, which centres on the lives on five women during the Second Liberian Civil War. The play was able to capture the perfect balance of serious hard-hitting material and humour. For a play that has some moments that are quite difficult to watch, it was also remarkably funny too. On top of that, all five women in this play were superb (made clear by the raft of nominations it received). Lupita Nyong’a seemed so much younger in her role, which commanded your attention until the final moments, while Pascale Armand made me laugh with her witty remarks. I’m so pleased I was able to see this. Full review here.
5. Mary Stuart (Almeida)
Last weekend I was at the Almeida for a double day of Mary Stuart. Seeing this new show twice in one day was the only way to guarantee I’d see both actresses in each of the lead roles of Elizabeth I and Mary Stuart. I’m still writing up my review (watch this space), but needless to say that it’s inclusion on this list tells you exactly what I thought of it! The Almeida has such a unique atmosphere and you can feel the energy in the room as the coin spin takes place to determine who will play each part. On seeing both versions, I was thoroughly impressed by both actresses, although Lia Williams brought something extra to the stage whether as Mary or Elizabeth. It’s an exciting, powerful and absorbing production that you should see if you can.
6. Unreachable (Royal Court)
After having to return a ticket for earlier in the run, I’m so pleased I managed to see the final performance of this brilliant new play by writer and director Anthony Neilson, although due to the unique structure of the creative process, it would have been great to have seen it more than once, as Neilson uses the rehearsal process to mould the story and relies on improv from the cast. Story-wise, it’s about a group of creative people coming together to make a film, with the director intent on capturing the right light (played by Matt Smith) and one of the actors, Ivan the Brute, an unpredictable lunatic (Jonjo O’Neil)! All the actors were excellent, but special credit must go to these two, who had me in stitches throughout, particularly Jonjo. It’s a character and performance I won’t forget in a hurry!
7. Harry Potter & The Cursed Child (Palace)
2016 also saw the arrival of the juggernaut that is the new Harry Potter play and I feel very lucky to have already been able to see it, knowing that some people have tickets for 2018! Set 18 years after the end of the seventh book in the series, we get to see Harry, Hermione and Ron as adults with children of their own off to Hogwart’s and the story focuses on the friendship of Albus Potter and Scorpius Malfoy. It’s a superb show, with magical trickery, lovely sets, a story with a positive message for us all and some brilliant actors. Special mention to Jamie Parker (one of my favourites on stage who really does bring something new to Harry) and Anthony Boyle who deserves as much recognition as possible for stealing the show as Scorpius. Review here.
8. Yerma (Young Vic)
Billie Piper has established herself in recent years as a fine stage actress and her lead role in the Young Vic’s modern interpretation of Lorca’s Yerma is the best I’ve ever seen her. In a one act play, she simply left me speechless and a bit of a wreck through her portrayal of a young woman driven to despair by her inability to conceive a child. In this modern world where people like to think we can have it all and where woman are putting off having children until later, this play has an added emotional resonance. Brendan Cowell was also fantastic as her husband, struggling to keep their marriage together as his wife slowly breaks down. It was an emotionally draining experience, but a theatrical tour de force that I wouldn’t have missed for anything. Full review here.
9. Richard II (RSC, Barbican, London & BAM, NYC)
Okay, okay, anyone who reads this blog may notice that this production has been on this list before, but technically the 2016 version did have a largely different cast and therefore I think I cab get away with it! David Tennant remains one of my favourite actors and a brilliant Shakespearean actor. Returning to Richard after a break of almost two years meant he was able to bring much more weight to it than he did originally. This was a stronger, more confident performance. Add to that the inspired addition of Jasper Britton as Bolingbroke, a role he made his own and a performance I preferred to Nigel Lindsay. Top marks also need to go to Sam Marks, who stepped in to Oliver Rix’s shoes as Aumerle and brought even more emotional depth than I could have hoped for. I was also lucky enough to travel to NYC to see the final two performances of Richard, meaning that I was able to see not only the first preview, but the very last show. Full review here and reflection on the full King and Country cycle here.
10. The Dazzle (FOUND111)
Picking a tenth production for this list has been quite difficult and has left me torn, but in the end I had to choose a production I first saw last December and returned to in January of this year and that’s The Dazzle. With only a cast of three and staged in the intimate setting of FOUND111 (one of the venues of the year in my view), this was a show that was both humorous and deeply moving, as we see the bond between the Collyer brothers. Andrew Scott is mesmerising as Langley, whose strange ways are an increasing strain on his brother. However, it was David Dawson’s performance as Homer that floored me and by the final scene I was a wreck. Full review here.
So, that’s my top 10 from another year of theatre. That was quite tough! Had I had more space, other productions I loved this year included Les Liaisons Dangereuses (Donmar), The Encounter (Barbican) and the returns of the RSC’s Love’s Labour’s Lost and Much About About Nothing (at Chichester, but which are now currently finally in London) and This House (also now in London).
It always frustrates me that there are things I miss, but ultimately you can’t see everything. That being said, I’m determined to go to more regional theatre, but also more new venues next year. It’s a little exciting to wonder what memories I’ll be looking back on this time next year! After a suggestion from a friend, my picks for top performances of the theatre year are in a separate post here, as are my most memorable moments of the year in theatre here.
Thanks for reading!
I rarely write about the same show twice, but if you are going to revisit the same production, what better one than Groundhog Day? Having been lucky enough to nab a ticket for tonight’s final London show during public booking, and the front row no less, I couldn’t let the moment pass without reflecting on what has become one of my most loved shows.
I fully admit, I did not think I’d like it. I’d seen the film and hadn’t been that bothered about it in 1993. How on earth would it ever work without being excruciating and irritating? I am however a huge admirer of Tim Minchin and his ability to make words funny, sharp, cutting, but also deeply emotive. I’d loved Matilda and so curiosity made me buy my first ticket for an early July preview.
My hopes were raised when at a night at the Old Vic, before the musical opened, Mr Minchin sang “On and On” (or Ned’s song) and “Seeing You”, as well as bringing the brave Georgina Hagen down from the circle to sing “Nancy”! All three songs were wonderful and all my fingers were tightly crossed that perhaps this new musical could be something special.
Seeing as tonight was my fourth trip to the show, you can guess what my reaction was! There are so many wonderful aspects to Groundhog Day as a musical. You get to know the community in a way you can’t in the film (which I actually rewatched this weekend to find I really do prefer the stage show) and I genuinely think Andy Karl’s portrayal of Phil Connors really is that of a man who you see change for the better. I don’t really think that about the film. He may get a bit nicer, but I could easily see him reverting back after a while! During this musical, you see Phil Connors the unlikeable, arrogant man he is to begin with, become someone who learns to appreciate those around him and how life is worth living; we just need to live it as the best person we can possibly be. It’s a powerful, uplifting message from a show that so beautifully moves from a very, very funny show in the first half, to one with a strikingly moving and emotional second act, culminating in its heart-warming and hopeful ending.
The script is wonderfully written by Danny Rubin, who picks out all the best bits from the screen and the builds on them to make the overall story richer in so many ways. I love that Larry the cameraman gets a happy ending here and seeing the story of Ned’s life is one of the most moving moments of the piece (special mention to Andrew Langtree whose beautiful rendition of his song struck a chord with me every time).
I also love Rob Howell’s set. The deconstructed bedroom, which starts to fracture as Phil begins to lose his mind is very effective and I love the colourful wall backdrops for the bars and café. There’s colour and sparkle with each set change and the floor revolve allows time to pass visually at certain moments too. Congratulations to Paul Kieve too for some wonderful illusions. I admit, I think I’ve worked them all out now, but the reaction you have to them on first viewing is fantastic!
Together with such brilliant music and lyrics, which get cleverer every time you hear them, it’s the perfect combination. There’s a country-style song, one that’s more of a rock number and some quieter more reflective pieces too, which with songs such as “Nancy” still manage to highlight some important issues in society, while remaining witty and engaging. Not many people could get the balance right, but that’s the genius of Tim Minchin for you.
The ensemble cast are wonderful, bringing even the smallest character to life, to add another layer to Punxsutawney. Georgina Hagen makes us think again about the ditzy blonde, the comedic timing of the three actors in the bar scene bring to life one of the funniest parts of the show and Carlyss Peer brings Rita up to date for today’s audience, as a woman who isn’t going to easily fall for Phil’s lines and would rather be alone than in a relationship without love. Huge credit must however go to Andy Karl. I hadn’t heard of him before seeing the show (a crime I know, but all his stage work has been in the States), but he’s certainly made quite an impression on London theatreland and I now cannot imagine anyone else in the role of Phil Connors. It’s such a brilliant performance. Every facial expression, exasperated and sarcastic line, not to mention capturing the wit, arrogance and emerging heart of this man. You really do like him by the end and the moment he realises the next day has arrived is so lovely, it brings a tear to my eye.
The affection London has for him and all the cast was clear in the Old Vic tonight. It was such a special atmosphere, as we said farewell to a show that I dearly wish was staying much longer than two months. During the final curtain call, the cast threw buckets of fake snow over Andy Karl, who in turn threw it on the conductor, before saying a final farewell to the stage by making a snow angel!
The show now heads to Broadway, arriving at the August Wilson Theatre (formerly the home of The Jersey Boys) for previews, before opening on 17th April 2017. All I can say is that I hope New York appreciates it. To whet your appetite here’s a couple of videos, the first is of Ms Hagen singing “Nancy” https://youtu.be/tzJ3n1Mf1dM and the second is Tim Minchin singing “Seeing You” https://youtu.be/2hwE-dgis6Y – I can only hope a London cast recording will become a reality!
Oh and in case you were wondering – the chance of me heading to NYC to see the show there? – 100%!
Before posting a review of this latest new British musical, it seemed appropriate for me to take a second look, almost four weeks after I saw a very early preview. I admit when Tim Minchin first confirmed he was working with director (and now artistic director of the Old Vic) Matthew Warchus, on a musical of Groundhog Day I was sceptical. Could it really work? I hadn’t been a fan of the film on original release, so wasn’t sure if it would even appeal to me. However, knowing how talented Mr Minchin is and after falling for Matilda (his first stage musical success) upon first seeing it in Stratford-Upon-Avon in 2010, I had all my fingers crossed for this show.
Thankfully, I can categorically say that Groundhog Day has only grown stronger over its preview period and is one of the brightest stars in London theatreland at the moment.
For those unfamiliar with the 1993 film, it centres on Phil Connors, a grouchy, arrogant and rather rude (albeit in an amusing way for us) weatherman, who is grudgingly dispatched to the small American town of Punxsutawney, Pennsylvania for its day in the country’s spotlight – Groundhog Day! Every 2nd February, all eyes turn to this small community to see the weather prediction of Punxsutawney Phil, a groundhog, who supposedly predicts when spring will arrive. Connors has no time for such silliness and cannot wait to return to civilisation. However, he soon realises he has a terrible problem – the next morning he wakes up on Groundhog Day again and the next day and the next. The question is whether Phil will ever understand what he needs to do in order to break this surreal loop!
It was a bizarre film, but it really does work as a musical. Danny Rubin, who wrote the film, is ideally placed to retell the story in a new medium and combining his script with Minchin’s quick, intelligent, witty lyrics and perfectly pitched emotional music, results in an absolute triumph and possibly my favourite show of 2016.
Building a musical which is based upon repetition of scenes could have resulted in something that felt a bit dull, but the production sparkles from start to end. Once the premise has been established the whole day isn’t repeated. Instead the quick cuts to repeats of certain moments create some wonderfully funny scenes. One in which Phil takes his producer Rita to dinner to try and get her in to bed is just one example, as we see Phil trying to refine the night over a number of occasions with disasterous results!
With such a strong foundation through Rubin, Minchin and Warchus’s direction, the show needed a strong lead actor to bring its central character to life and thanks to this show, I have discovered the brilliance of Andy Karl! He is superb as Phil Connors, bringing every facet of the character to life. He is certainly a character who develops so much over the story and Andy Karl is more than up to the task of conveying everything from his arrogance and somewhat unlikeable behaviour, through to his kinder side, as, whether he can see it or not, Phil starts to care about the town he is trapped in. As an audience you can’t help laughing at some of his antics and find yourself warming to him as the story moves along. I admit I also envied his ability to say anything he felt like, no matter how rude!
The whole ensemble work so hard to bring vibrancy and life to even the smallest of characters, but special mention must go to Carlyss Peer as Rita, the young woman who helps Connors become a better man, along with Andrew Langtree (who as Phil’s old high school classmate delivers one of the most moving songs of the production in the second half) and Georgina Hagen, as Nancy, the young, blonde woman, longing to be seen for more than her looks. She opens the second half with “Nancy”, another of the show’s more heartfelt songs. Crucially for me, most of the catchy songs from this musical have stayed with me over the last few weeks and a cast recording cannot come soon enough!
Credit also must be given to Rob Howell’s fantastically inventive set, full of colour and able to transform the stage quickly from one location to the next. I also loved the comical use of miniature houses and vehicles, particularly in a car chase and also when the news van is caught in the snowstorm. It’s so silly, but so much fun!
Groundhog Day is a wonderful addition to London theatreland and although it’s soon destined for Broadway, I can’t help hoping that perhaps we’ll get to keep it here just a little longer. People deserve the chance the see it and with a current closing date of 17th September that really isn’t very long at all. So, my advice to you is book your tickets quickly, before this production sells out (which is almost certainly guaranteed following its strong reviews). The cast and creative team have managed to bring to life a show which makes you laugh (a lot!), smile and even shed a tear. You leave the Old Vic with a smile on your face, having seen something quite magical. I’d be quite happy if it was Groundhog Day every day! I’m already looking forward to experiencing all again….and again…..!
GroundHog Day continues its run at the Old Vic Theatre until 17th September 2016. Running Time is 2 hours 35 minutes approx. (including a 20 minute interval). For more information and ticket availability visit the theatre’s website: http://www.oldvictheatre.com/whats-on/2016/groundhog-day/
As a regular and enthusiastic theatregoer, I’m often asked by friends how I can afford it, to which I explain that, despite the rising prices for big West End shows, not all theatre in London is extortionate, especially if you know where to look and are open to visiting a wider variety of venues.
Last year, I shared a few tips, some obvious, some less so, as to how to secure tickets at a cheaper price and with the new year upon us and budgets tight after Christmas, it seemed the perfect time to revisit this topic. Most of these options require some effort, whether that’s getting up early to queue or setting a diary reminder to jump on a website the moment seats are released, but others are offers that may be available to you due to where you live or your age. Hopefully some of these tips will highlight that great seats at reasonable prices are possible and that you shouldn’t let the fact a show is sold out put you off, as nothing is ever really “sold out”.
1. Theatre-specific schemes
Many theatres have ticket schemes, which offer a cheaper price band of seats for certain productions, which are often still very good seats in terms of view. It’s always worth checking their website in advance to become familiar with such schemes and when tickets are due to go on sale. Some of the best schemes currently are set out below. Click on the links for more details.
National Theatre Travelex Scheme – this scheme is a fantastic aspect of the National Theatre, offering £15 tickets for certain productions throughout the year. In order to secure these tickets, the best tip is to book quickly as once public booking opens for each new National season these seats go fast.
National Theatre £20 Friday “Rush” – Every Friday at 1 p.m., some tickets for the following week’s productions go on sale online for £20. These are proving very popular, so set your reminders to make sure you don’t miss out.
Royal Court £10 Mondays – all tickets for Mondays of every show go on sale on the day for £10. Again, you need to be quick, so set yourself a reminder.
Southwark Playhouse Pay As You Go scheme – For £60 paid in advance, you can buy a subscription to the Southwark Playhouse, effectively giving credit which can be used to buy five tickets. There is no expiry once you’ve paid your £60, so you can buy the five tickets over as long or short a period as you choose (only two can be used at a time for one performance though). It’s a great scheme, so have a look at their website for details.
Donmar Barclays Front Row – This is one of the toughest, as tickets go very very quickly. Tickets are released each Monday, for performances two weeks later, offering the front row for only £10.
Old Vic PwC £10 Preview Scheme – Under this scheme, half of all seats are priced at £10 for the first five previews of each production. These go on sale five weeks in advance are are brilliant value for money.
The Trafalgar Transformed seasons from Jamie Lloyd have an offer for reduced price tickets on Mondays. The next show The Maids will also have a £15 Mondays scheme. Purchase details have yet to be announced. Keep an eye on the website here.
The Park Theatre at Finsbury Park has a Pay What You Can Afford scheme on certain days (usually all matinees) to allow people to make a donation instead of paying the standard ticket prices.
The Young Vic tends to offer a season saver, whereby if you buy three shows in the season at full price, you’ll get a discount (currently 20%). A great deal if you intend to see most of the theatre’s season.
The Bush Theatre also offers a season saver – book 3 shows at top price in one go and only pay for two!
2. Day Seats or Lotteries
Day seats are one of the most widely used and easiest ways to get cheaper tickets for bigger, more expensive shows if you are prepared to put the effort in. This basically means getting up early and joining a queue! Day seat policies vary from theatre to theatre and even show to show at a theatre, but are always great value as they tend to offer good seats, sometimes even the front row, for a cheaper price. Admittedly, the higher the stage, the more uncomfortable this front row could be, but if prices are inflated, it’s often the most accessible option. You can call up the box office of the theatre to check what it’s day seat policy is and how early the queue is generally starting. A great resource is the Theatremonkey website, which tries to give as much up to date day seat information as possible. One further tip for day seats is to take cash, as some don’t accept debt/credit cards.
Lotteries are less common in the UK, but are still run for certain shows, such as The Book of Mormon, which runs an online lottery for its day seats. Check with the theatre or the website of the show you are interested in.
3. Age-related Discounts
Many theatres have reduced price tickets for certain age groups, which are great value while you qualify for them. Don’t make my mistake and leave it too late to take advantage of these! Examples are:
- Almeida – under 30s can buy tickets for £19 on Mondays only.
- National Theatre – Those 16 – 25 can buy £5 tickets through the Entry Pass scheme. You need to sign up to the scheme in advance.
- RSC – Those 16 – 25 can buy £5 tickets through the RSC Key scheme. A bargain to see such great Shakespeare!
- Young Barbican – discounted tickets available for 14-25 year olds across all its events.
- Tricycle Theatre – TRIKE scheme offers £10 theatre tickets for those under 26.
- Young Vic – £10 tickets for under 25s.
Check a theatre’s website for details of their scheme and what you need to do to take advantage of it, as you may have to register first, bring proof of age on collection etc.
4. Resident discounts
Certain theatres offer discounts for residents within their community. The Bush (in Shepherd’s Bush) via the Bush Local scheme and the Lyric (in Hammersmith) are both examples of theatres which give some form of discount for certain performances to locals. Enquire at your local theatre for information and availability and what proof of address is required.
A good proportion of theatres sell preview performances at cheaper prices, to take account of the fact that the show is still under development. Don’t let this put you off though, as it usually merely means tweaks rather than substantive changes, which can be interesting if you plan on seeing something again later in the run and can then see what the changes were.
6. NT Live / the RSC’s Live from Stratford-Upon-Avon filming nights
These days more and more shows are being filmed for cinema screenings. Generally, these performances result in discounted prices for the audience in the theatre that evening, due to the possibility of a camera restricting your view at certain points. It also gives another perspective on a theatre production to watch it live as it is being filmed. I saw last year’s National Theatre Man & Superman on NT:Live filming night, enjoying a £50 seat for £29. Of course, these recordings also offer the opportunity for many more people to watch a performance from their local cinema for the price of a cinema ticket which is fantastic. Details of NT:Live here and the RSC’s Live from Stratford-Upon-Avon here.
7. Seat filling websites
Both The Audience Club and Play By Play UK are examples of companies which assist producers with filling seats, whether during early previews to get people talking or if a show is doing less well. The Audience Club membership starts with a £4 donation to Marie Curie and requires you to see 12 shows in the first year to qualify for the next level of membership (with access to larger shows). Play By Play costs £75 a year to join, which gives you access to their full range. Fees then payable on each ticket range from £2-£3. Crucially you must respect the discretion policy of both companies and if attending a show via either company, keep this to yourself within the venue and on social media both beforehand and afterwards. Both require you to email your interest in joining and you will then be contacted when room is available for new members. As a member of both schemes I definitely find them a wonderful additional resource for obtaining tickets and have made back the cost of my PBP fee in the last year.
8. Restricted view options
All theatres sell certain seats at cheaper rates due to their positioning causing a restricted view. The more you try, the more you get to know which are actually not that restricted at all. This often results in a bargain. Examples being slim pillars in your view, which often don’t block too much and are fine if you go as a pair and can lean more to one side if you know the person next to you or even swap with each other halfway! Check sites like Theatremonkey for opinions of views from seats as provided by regular theatregoers. Twitter is also great for seat tips, as well as the Theatre Forum (registration needed to access the forum).
9. Get In To London Theatre
Another wonderful scheme aimed at getting people to go to the theatre is the brilliant Get In To London Theatre scheme. I’ve been raving about this to friends over the last few weeks and there is still time to take advantage of the scheme for 2016. Get In To London Theatre offers cheaper seats to lots of London plays and musicals across January and early February. Tickets range from between £10-£40 and are particularly good value for the big musicals.
10. TKTS booth / in person at box office
The TKTS booth in Leicester Square is the official discount-selling booth, which offers some fantastic offers on discounted tickets for shows. This is especially useful if you are looking for tickets at the last minute. Another saving is to book at the box office in person if you can. This way you can avoid the booking fees added to online sales.
11. Mobile phone ticket apps
Mobile phone apps are starting to offer theatre ticket opportunities. The best for deals so far is TodayTix. This free mobile app (until last year only offering Broadway deals) now offers discounted London tickets for last minute theatre trips, or trips within that week to a variety of shows. Some productions are running their ticket lotteries through it, such as the Kenneth Branagh season at the Garrick, which offer £15 lottery seats via the app, which you can enter as many days as you like.
12. Recordings of Theatre Productions
Another recent development is the growth of filmed productions being made available online for purchase as rentals or purchases to keep forever. This is mainly thanks to the brilliant Digital Theatre, which currently offers some brilliant shows. These include the wonderful Private Lives starring Anna Chanellor and Toby Stephens, Much Ado About Nothing with David Tennant and Catherine Tate and The Crucible starring Richard Armitage. Prices are very reasonable (around £4 rental, £9 SD purchase and £11 HD purchase).
For older shows, there may be the possibility of watching a recording within a theatre archive. The best examples are the National Theatre’s own archive, housed at The Cut (next to the Old Vic) and the V&A Performance Archive (housed at Blythe House in Kensington Olympia). Both of these archives are free of charge but subject to making a request in advance (usually 2-3 weeks). On arrival, you put on headphones and watch the recording on a screen. You won’t be able to take food and drink in to the room and may only use pencils to make notes and of course filming on your phone or other device is not permitted.
1These recordings are a wonderful way to see productions from years ago or more recent ones you’ve missed. I have a very long list of productions I need to see in the archives! Why not search their online catalogues to see what may be of interest to you.
Some theatre companies are now releasing recordings on DVD, so you may even be able to purchase them to watch from the comfort of your home. Shakespeare’s Globe has been doing this for a while, but the RSC is now also releasing certain productions on DVD.
13. Sold out shows?
The other big question I am often asked is how do you get tickets for a “sold out” show. The fact is no show is ever really sold out. The simplest ways to obtain such tickets are either via Day Seats or Returns on the day.
Returns are something non-regular theatregoers tend not to know about. Tickets always say non-refundable right? Well, if you have a ticket bought from the theatre / show’s official website and can no longer attend, if that show is popular or sold out, you may be able to offer it for returns. Anyone at the theatre hoping for a ticket, will then but the ticket from the theatre, who will then credit your card.
Returns won’t be discounted, as you are offered whatever tickets have been returned to the box office. It’s never guaranteed, but I’ve never failed yet in a returns queue and that includes at small venues such as the Donmar. I’d recommend getting there around 3 hours before the show starts to join the queue, although for popular shows it may need to be much earlier than that. Some theatre simply take your name and say to come back at a certain time, at which any returns go to those waiting in order of the names on the list.
I’d add to this, if you have tickets you can no longer use, offer them back to the box office for returns. If a show is sold out then the theatre is usually willing to accept them, on the understanding that there is no guarantee of your money back. You lose nothing more by trying and it may mean someone else gets to fill the seat.
So if there’s something you really want to see, but think it’s too expensive or sold out, look in to some of these options and maybe you’ll be able to go after all!
2016 has arrived, so it’s the time of year for theatregoers when we start planning all the shows we need to book for the new year, while pondering what rumours are circulating as to productions that may arrive during the next twelve months. This post has been a great way of organising my own theatregoing, as I see what I’ve yet to book while compiling this list of recommendations! 2015 was an excellent year for me for theatre (read my review of the year here) and I certainly hope 2016 proves to be even better.
So, here are the productions I’m most looking forward to in 2016. I am planning a New York trip in April, but as I’m not yet sure what I will be seeing this list is purely a UK selection and admittedly mainly London-based (although I plan to get to regional theatre more again this year).
16 to see in 2016
1. Sunset Boulevard with Glenn Close (London Colesium – 1st April – 7th May)
The forthcoming production of Sunset Boulevard is my most anticipated show of 2016 so far. It’s a musical I’ve never seen, I’ve never been to the London Coliseum before (this year I’m determined to visit more theatres) and it means I’ll get to see Glenn Close, an actress I greatly admire, on stage. Returning to a role she played back in 1994 on Broadway, tickets for this production’s five week run have been incredibly popular since going on sale last year, but there are still some available.
2. Richard II (with Mr Tennant returns) (Barbican – 7th – 22nd January)
Although I’ve already seen this production during its last run in 2013, as a huge fan of Mr Tennant, especially for Shakespeare (something he seems to effortlessly make modern and accessible to all), I had to include this return of Richard II to the Barbican as part of the King & Country cycle. I am rather sad that Oliver Rix is not returning as Aumerle (who I thought was truly superb last time), but Samuel Marks will no doubt do a fantastic job in his place. Tickets are sold out for the individual performances, but returns are worth looking for.
3. The Encounter by Complicite (Barbican – 12th February – 6th March)
Another production coming to the Barbican which has been on my radar for some time is the latest work involving theatre company Complicite. Directed and performed by Simon McBurney this solo show will transport the audience to the Amazonian rainforest, through sound design to weave McBurney’s story with that of Loren McIntyre, a photographer who became lost in the Amazon in 1969. This wouldn’t normally be my type of theatre, but anything involving Complicite (whose A Disappearing Number and Master and Margarita in 2010 and 2012 respectively I loved) will get my attention. I’m sure this will be a unique experience.
4. People, Places & Things (Wyndham’s Theatre – 15th March – 4th June )
After missing this highly regarded production during its initial run at the National Theatre, I’m thrilled it has a second lease of life in the West End. A new collaboration between the National and Headlong following Earthquakes in London and The Effect, the play introduces us to Emma, currently in rehab, but who thinks it’s the rest of the world that has the problem. I’ve heard nothing but positive comments about this play and the performance of its lead Denise Gough, so I’m looking forward to seeing this at the Wyndham’s.
5. No Man’s Land (Venue TBC – September)
This play was on my list for 2015, in the hope it might arrive by the end of the year. That didn’t happen, but in their New Year’s Eve video message, the dynamic duo of Patrick Stewart and Ian McKellen announced that this production (which played with Waiting For Godot in New York in 2013) would be in London this September. They are both such wonderful actors, but there is something very special seeing them together. If I enjoy this half as much as Waiting For Godot in 2009, I’ll be very happy indeed.
6. Uncle Vanya (Almeida Theatre – 5th February – 26th March)
There is so much about this production which makes it a top choice for 2016. For a start, the ensemble cast contains some brilliant talent including Vanessa Kirby (most recently of the Young Vic’s Streetcar) and Tobias Menzies (whose one man performance in The Fever last year was superb). On top of that is the involvement of Robert Icke, whose production of Oresteia last year topped virtually every theatre list of 2015 (including mine). As with that play, this will be a new interpretation of Chekhov’s Uncle Vanya by Icke, which he will also direct. Expectation as to what he will come up with next is incredibly high, so I hope this delivers.
7. After Miss Julie (Theatre Royal Bath – 24th – 28th May, followed by a tour)
I’ve only seen one previous production of this August Strindberg play, which was the Young Vic’s 2012 version starring Natalie Dormer and it was one I have not forgotten, due to the power of the story and the emotionally charged atmosphere in which it takes place. As that production was also based on the adaptation by Patrick Marber to be used here, I’m thrilled to be able to see it again, with Helen George in the main role. Known to most through Call The Midwife, this role will give her room to show a very different side and I’m looking forward to seeing this in Bath or during the subsequent tour.
8. Nell Gwynn (Apollo Theatre – 4th February – 30th April)
Another production I was sorry to miss last year was Nell Gwynn at the Globe. Although there has been a change of lead actress (with Gemma Arterton replacing Gugu Mbatha-Raw), I’m very much looking forward to a show which many people I know said was a highlight of their theatre year and learning more about the woman who went on to become Britain’s most celebrated actress (and mistress to King Charles II).
9. The Master Builder with Ralph Fiennes (Old Vic – 23rd January – 19th March)
The first 2016 production for the Old Vic looks to be very promising, seeing Ralph Fiennes in the lead role of this Ibsen play. After seeing his brilliant performance in Man & Superman last year, I can’t wait to see Mr. Fiennes on stage again and in this new adaptation by David Hare (most recently having enjoyed success both in London and New York with Skylight), it should be very memorable.
10. The Nap (Sheffield Crucible – 10th – 26th March)
After the success of One Man, Two Guvnors, this is the new comedy from Richard Bean. If that wasn’t enough to get excited about, it’s directed by actor Richard Wilson and stars rising British Hollywood star Jack O’Connell as a young, Sheffield-born snooker player. As this is running in the home of snooker at the Crucible I imagine this will add to the atmosphere of this production and is a fantastic part of Sheffield Theatres wonderful 2016 season.
11. Herons by Simon Stephens (Lyric Hammersmith – 15th January – 13th February)
As it’s been 15 years since this play by Simon Stephens was last in London, I have yet to see it and although I find his work a bit of a mixed bag of enjoyment (last year’s Carmen Disruption was not for me), he’s a playwright whose plays I will always book a ticket to see. Described as an unflinching and incendiary play, I imagine this will not be an easy one to watch, but I hope it will be as powerful as some of his other plays that I have loved.
12. Elegy (Donmar Warehouse – 21st April – 18th June)
This is the only show I have booked for the new Donmar season and the reason is I’m very much looking forward to seeing the next play by Nick Payne, whose constellations has done so well on both sides of the Atlantic in recent years. Set in a near-future where advances in science mean it’s possible to “augment and extend life”, I’m expecting this to be a thought-provoking production.
13. Aladdin (Prince Edward Theatre – currently booking 27th May – 1st October)
Although I do tend to see more plays than musicals, I’ve been looking forward to the arrival from Broadway of Disney’s Aladdin, which had been on my list of things to see in NYC. A Disney musical done well is always good fun and Aladdin already has the advantage of having a strong set of songs from start to finish.
14. The Deep Blue Sea (National Theatre, Lyttleton – TBC, June 2016)
Terence Rattigan remains one of my favourite playwrights and I very much enjoyed the last production of The Deep Blue Sea that I saw in Chichester in 2011. Very little is known yet about this forthcoming production at the National, which will be directed by Carrie Cracknell (whose A Doll’s House at the Young Vic was superb), but I’m certainly hopeful for some wonderful casting. Watch this space.
15. Harry Potter & The Cursed Child (Palace – begins May)
I admit I’m not a Harry Potter fanatic and booked a ticket for this play more out of curiosity than anything else. It’s already had record-breaking ticket sales and is booking until mid-2017, so there is certainly a lot of expectation surrounding the next instalment in J.K Rowling’s universe, set 19 years after the last book. I am very excited though about the recently announced casting, as Jamie Parker has been one of my favourites for a few years and Noma Dumesweni is a brilliant actress. This is already set to be the most discussed and anticipated show of the year.
16. Pink Mist (Bush Theatre – 21st January – 13th February)
After receiving superb reviews last year at the Bristol Old Vic, it’s wonderful that Owen Sheers play, looking at the mental scars of war is coming to London. Inspired by interviews with retired servicemen, Pink Mist centres on three young men, deployed to Afghanistan, but whose greatest challenge is then returning to their old lives and loved ones after all they have experienced. I expect this to be an incredibly emotional and profound piece of theatre, which in the current world will have an even bigger impact on audiences.
As with any year, there are certain rumours swirling in the theatre air about possible productions arriving in 2016 and I’ll certainly be keeping an eye on the ones below over the next few months.
1. Finding Neverland (TBC)
I thoroughly enjoyed the film Finding Neverland and have been hoping this musical adaptation would make its way to London at some point. Nothing has been formally announced yet, although Gary Barlow has said it will be in London this year, so this looks very likely indeed. Those who I know have already seen it in New York were very positive about it and with music and lyrics written by the incredibly talented Mr. Barlow, I’m hopeful this will be a very enjoyable night at the theatre.
2. Colin Morgan in The Pillowman
Martin McDonagh’s latest play, Hangmen, is currently enjoying great success during its West End transfer and so it would be the perfect time to bring one of his earlier plays back to the stage. Rumours last year suggested The Pillowman may indeed make a return, with Colin Morgan linked to the production. I have only ever seen the grainy National Theatre recording of their 2003 production in their archive, but it’s a testament to the power of the piece that it’s still stayed with me. It’s certainly a disturbing and dark play, but I would certainly like the chance to see it live.
3. The Young Chekhov season from Chichester to the National?
This triptych of plays was one of the theatre events I was most sorry to miss last year and therefore I’m hoping the rumours of a transfer to the National Theatre prove to be true. In his new adaptations for the Chichester Festival Theatre, David Hare chose to stage two lesser known Chekhov plays (Platonov and Ivanov) in a season with The Seagull. It had a wonderful ensemble including Anna Chanellor, Sam West and Olivia Vinall and the reviews were all excellent. All my fingers are crossed for a second life for these productions in 2016.
Catch Them Before They Close….!
1. The Dazzle (FOUND 111) – until 30th January
Although there are now only day seats and returns available, it’s certainly worth making the effort to try and nab a ticket for this new play, housed at the top of a warehouse-style building on Charing Cross Road. A story which imagines what the lives of two famous New York hoarders and recluses must have been like, Richard Greenberg’s play is powerful and emotional and contains two superb performances by two of Britain’s best young talents (Andrew Scott and David Dawson). Read my full review here.
2. Hangmen (Wyndham’s Theatre) – until 5th March
As I’ve already mentioned above, this Martin McDonagh play has been widely praised by both critics and theatregoers since it first opened at the Royal Court. After seeing it on its transfer to the West End, it easily made my top ten of 2015. With a brilliant script, wonderful sets and superb acting (particularly Johnny Flynn’s performance), this should be one on everyone’s list for early 2016. Read my full review here.
3. War Horse (New London) – until 12th March
It seems incredible that War Horse is closing in London. It’s become such a fixture since its premiere at the National Theatre in 2007 and move to the New London in 2009, that I expected it to be there forever. Sadly however the show will close on 12th March, before embarking on a UK tour in 2017. There’s certainly something very special about seeing Joey live. He may be a puppet, but the skill of the operators and the beauty of the story means that that is irrelevant. If you haven’t got round to going or want to see it again, make sure you book while you can. I already have my ticket for the last performance.
4. Billy Elliot (Victoria Palace) – until 9th April
Another long-standing show closing in early 2016 is Billy Elliot, which has played at the Victoria Palace Theatre for over ten years. After such a successful film, it’s wonderful that the musical adaptation has been received with such warmth over the years. If you’ve yet to experience the story of a young boy’s love of dance, you have until early April to book your ticket. It is eight years since I last saw the show, so I’ll definitely be visiting one last time before then.
So, hopefully there will be something within my recommendations to appeal to you (or maybe even more than one). I’d love to pick up some more tips for myself, so do leave a comment about what you are excited about seeing in 2016. Happy theatregoing everyone!