Over the past 12 months, I’ve been to the theatre 65 times. That includes 17 shows within 3 days at the Edinburgh Fringe, and also seeing Nottingham Playhouse’s production of “Dear Evan Hansen” twice. Many of the shows I’ve seen have been as a reviewer for East Midlands Theatre and Elemental Theatre, and I’d like to thank Phil and Tom for giving me the opportunity to write for them. I have had the chance to review many other shows thanks to the kindness of the press office at the RSC, Nottingham Playhouse and Leicester Curve. This post is my chance to revisit my favourites. Previously, I’ve only looked at the top five shows – but with so many to choose from, here’s the top ten!
Honourable mentions
Even an extension to the top 10 means that there are going to be plenty of great shows that don’t make it to my list. This year, I went to Edinburgh Fringe for the first time (thanks Jo for the birthday present!) and saw a wide range of shows from musicals to plays to improv to stand up. Unfortunately, none of those shows make it to my list – which I think is to be expected, as Edinburgh Fringe is an opportunity for companies to try something different and unexpected, with little set and simple costumes. The shows aren’t designed to be “the best ever”, they are designed to be hints of what could become “the best ever” – and I’m sure some of them (I’m looking at you “The Emu War”) we are yet to hear the last of.
I’ve also seen a number of amateur productions this year, from all sorts of different groups, including Derby Youth Musical Theatre, Your Chance Productions, Leicester Amateur Operatic Society and Heanor Musical Theatre Company, to name just a few. Again, no amateur productions feature in my top ten list, but that doesn’t mean they were not enjoyable. Amateur theatre is still some of my favourite theatre to watch, just for the joy and dedication that goes into putting these plays on. I look forward to seeing many more amateur productions in 2025.
And now, without further ado, on with the list….
10. Veronica’s Room (Theatre Royal, Nottingham)
You usually know exactly where you stand with entries in the Nottingham Theatre Royal’s Classic Thriller Season. A good, solid murder mystery, that is enjoyable yet often fails to attract much attention – and rarely makes it onto any “Top 10” lists. But “Veronica’s Room” was something different, unexpected, and both horrifying and excellent in equal measure. To say I ‘enjoyed’ this play might be the wrong turn of phrase, but it stands out as one of the most shocking theatre shows I have seen this year (and perhaps of all time). Its tale of incest and necrophilia is unlike anything I ever imagined I would see on the Theatre Royal stage – and, thanks to excellent turns from Jeremy Lloyd Thomas and Susan Earnshaw, is well-deserving of its place in my top 10 list. Disturbingly good.
9. The Kite Runner (Nottingham Playhouse)
Like the kites in the title, this play absolutely blew me away. Set over 25 years, and following characters from Afghanistan to America and back again, this story hooks you in and doesn’t let up until the final curtain. The tale it tells is tragic and horrifying – not helped by the fact that Stuart Vincent as Amir and Yazdan Qafouri as Hassan are incredibly likeable, innocent characters. This is a play that demands your attention, and, whilst its portrayal of suicide and sexual assault are treated with care and sincerity, they still make for some shocking and traumatic scenes. The story is so gripping that, despite being over 2 and a half hours long, it still feels like it ends too soon – it’s easy to see why this has been a hit in both the West End and Broadway.
8. Hadestown (Lyric Theatre)
“It’s a sad song – it’s a tragedy”, but that doesn’t mean “Hadestown” is all doom and gloom. For the most part, it’s an uplifting story filled with hope, that brings to life the Greek myths of Orpheus & Eurydice and Hades & Persephone. This West End production saw actors retain their own accents throughout, meaning we were treated to Grace Hodgett Young’s brash Nottingham accent as she took on the role of Eurydice. This West End cast have since moved on – but live recordings of their production have made their way onto Spotify, meaning we can still enjoy their interpretation (although the fact that Hodgett Young’s rendition of “Flowers” is missing from the album is a travesty in my opinion). The transformation of the staging during “Wait for me” gives me goosebumps just thinking about it. A magnificent show – and one that seems destined for greater things, with the recent announcement of the return of the original Broadway cast for a limited run, and rumours of a potential pro-shot. Yes please!
7. Hamilton (Birmingham Hippodrome)
Some of you will probably be shocked to see “Hamilton” as far down the list as 7th. It is generally considered to be one of the best written musicals of the last 20 years, and I would agree with that – Lin Manuel Miranda has crafted some unforgettable songs, with lyrics that can be considered no less than genius. For me, “Hamilton” lived up to my expectations in many ways – it was truly mind-blowing. But it felt to me like it didn’t do anything that I hadn’t already experienced previously, having listened to the soundtrack and watched the Disney+ pro-shot. A fairly lacklustre rendition of “Wait for It” from Sam Oladeinde, and a frankly baffling performance from Aisha Jawando as Angelica means that “Hamilton” fails to climb any higher in my ranking. A phenomenal show – but these are high stakes.
6. Pericles (RSC)
I was concerned that “Pericles”, a Shakespeare play which I previously knew nothing about, would be difficult to understand and would go completely over my head. And the opening to this production, which saw interpretive dance coupled with an enormous amount of exposition, did little to allay my fears. But once the story got going properly, this became an immense Shakespearean epic, with Alfred Enoch absolutely shining in the title role, supported by the brilliant Christian Patterson as King Simonides and Rachelle Diedericks as Marina. The play takes place in a mostly linear fashion, and the RSC’s show was able to make a fairly complicated story feel simple and straightforward. Once free of its gimmicky opening, this is a play that stands out thanks to its high calibre of actors. Mesmerising.
5. Life of Pi (Theatre Royal, Nottingham)
“Life of Pi” is a spectacle, there is no doubt about that. The puppetry on display is breath-taking, as are the stunning effects as the ship that Pi and his family are on begins to sink. However, where the play truly excels is in the quieter moments in the second act, where the story becomes more character focused, allowing Divesh Subaskaran to act his socks off and tug on the heartstrings. The design makes the play feel wonderful and otherworldly – but the acting talent on display helps to keep the whole thing grounded. Superb viewing – but not for the faint-hearted!
4. Punch (Nottingham Playhouse)
In at number 4, and my favourite play of the year (spoilers: the top three are all musicals), is James Graham’s masterpiece “Punch”, which tells the true story of convicted murderer Jacob Dunne, who participates in a restorative justice scheme that sees him come face to face with his victim’s parents. Set in and around Nottingham, the play felt very close to home with multiple references to the local area. The acting is gritty and realistic, each character written in a way that made them easy to relate to and empathise with. David Shields, Julie Hesmondhalgh and Tony Hirst deserve all the awards you can throw at them. This was a true tour-de-force, and possibly Graham’s finest play yet.
3. Dear Evan Hansen (Nottingham Playhouse)
I’m not going to mince words here. Dear Evan Hansen is my favourite ever musical, and I can’t see that changing for a long time. I love everything from the story to the flawed characters to the completely heart-breaking ballads. This show is near perfection in my eyes, and I went to see the reimagined tour version with incredibly high hopes. The reason it does not sit at my number one spot (which it occupied in 2022) is due to a few minor tweaks that I felt didn’t work as well as in the West End version – namely, the inclusion of an unnecessary chorus, and the removal of Larry’s eventual breakdown during “You Will Be Found”. Apart from that, an incredible piece of theatre that I could watch again and again.
2. Come From Away (Theatre Royal, Nottingham)
I’d seen Come From Away in the West End a few years ago (it was my number one show in 2021), so I was fully expecting it to be in my top 10 again. The fact that it would be so high again came as a complete surprise to me. The sheer joy that comes from this play is astonishing. I haven’t left a theatre smiling this much in a long time. Myself, Tom and Paula were on an absolute high for the journey home. The musical, which is set in the aftermath of the 9/11 attacks, feels like a strange concept for such a feel-good show. And yet, it just works. The numbers are perhaps not as memorable as other musicals (not counting the foot-tappingly irresistible “Welcome to the Rock”), but the story-telling, multi-role and choreography is up there with some of the best around.
- Two Strangers (carry a cake across New York) (Criterion Theatre)
This should come as no surprise to anyone who’s heard me raving about this. The concept is simple – the tale is about two strangers. Who carry a cake. Across New York. And yet the score from Barne and Buchan is perfect, the chemistry between Tutty and understudy Chege is delightful, and the set is incredibly creative. This musical feels new and fresh and unlike anything I’ve ever seen before. It also seemed to come out of nowhere (why aren’t more people talking about this show?!?) – which is the reason it sits at the number one spot for 2024. Sadly the run at the Criterion has finished – but the entire soundtrack is available on Spotify, and surely it’s only a matter of time before it is revived… right?
So there you have it – my top 10! Do you agree with my ranking? Vehemently disagree? Let me know!
I have plenty more theatre to come in 2025, including “Little Shop of Horrors” at Sheffield Crucible in January, “Inside No. 9: Stage Fright” in February and Mischief Theatre’s new play “A Comedy About Spies” in May. And something very special for me and my sister in March… but to say any more about that would mean spoiling her Christmas present!
Merry Christmas, Happy New Year, and see you all for more fun-filled theatre in 2025!
Tom Morley, December 2024
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