Insofar as it is humanly possible for any one person to know everything that is happening at the VAULT Festival this year, I present a handful of my recommendations for 2020.
Conor McPherson’s adaptation of Uncle Vanya featuring Toby Jones and Richard Armitage at the Harold Pinter Theatre is so good you can forgive the “wanging on”.
Lucy Kirkwood returns to the National Theatre with The Welkin, starring a brilliant ensemble led by Maxine Peake.
With its focus on the small things, Sam Steiner’s play You Stupid Darkness! is a delicate but delicious thing at the Southwark Playhouse.
The Other Room’s The Story and Hela make a delightful and daring double bill of Welsh drama at Theatre503.
BAZ Productions’ The Process proves bold and striking in its use of BSL and spoken English, if a little flawed too, now running at the Bunker Theatre.
A musical adaptation of Tom Brown’s School Days at the Union Theatre has some moments, and performances, to treasure.
As well as providing a welcome opportunity for performers to really cut loose, Six also – sadly – remains at the cutting edge of the zeitgeist.
Holy What’s Antigone at the New Diorama shifts the focus of Sophocles’ play onto two young sisters to powerful effect.
Ought To Be Clowns tackles a trio of Broadway cast recordings in the shape of Cole Porter’s The New Yorkers, Kiss Me, Kate! and Beetlejuice.
Ought To Be Clowns barely saw 250 shows this year, quiet by his standards. And as is the way of these things, here’s a rundown of some of the productions that moved me most…
Looking ahead to some of 2020’s exciting shows, most with an emphasis away from the West End and instead focusing at the London Fringe and across the UK.
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!).
A Kander & Ebb premiere in the West End you say? Curtains makes its bow at the Wyndham’s Theatre and I had an arrestingly good time with it.
Not too much more to say about Amélie the Musical, now in London at The Other Palace, other than book now for un moment merveilleux.
Teenage Dick at the Donmar Warehouse does extremely well in dealing with disability but I think we’re kidding ourselves if we’re yet in a place where this would happen organically.
Inua Ellams’ relocation of Chekhov’s Three Sisters to the Biafran Civil War proves devastatingly effective at the National Theatre.
Not much festive cheer around at the Royal Court, but plenty of grimly insightful writing in Gurpreet Kaur Bhatti’s A Kind of People.
Because nothing says Merry Christmas like a stage mum going off the rails! Gypsy offers a different festive treat at Manchester’s Royal Exchange.
As light as a madeleine and as frivolous as a macaron, Sandy Wilson’s The Boy Friend proves a festive treat at the Menier Chocolate Factory.