Musical Theatre Review reflects on another stunning and diverse year of theatre. Here is a round-up of five-star reviews from 2018 productions in the West End, on the London Fringe, in the regions and on tour (plus a sprinkling of Broadway openings too). With thanks to all our awesome contributors.
Picture: Idil Sukan
JANUARY
Six – Arts Theatre, London
‘The sheer quality on show means that its upward trajectory is completely deserved… Other musicals will come along which, buoyed by Hamilton’s success, attempt to tell historical stories in a contemporary fashion. The challenge they will face is being as joyous, as knowing, as funny and as moving as Six.’
Girl From the North Country – Noel Coward Theatre, London
‘This is a piece which requires its audience to lean in, to accept its disjoint presentation, to run with a presentational style which does not fit with our accepted view of what theatre looks like. If one can do that, one finds an impressively satisfying piece of entertainment.’
FEBRUARY
Hello Dolly! – Shubert Theatre, New York
‘(Bernadette) Peters bring to the role all the authority, magnetism and variety she has displayed and perfected in a career stretching over five decades – from kewpie doll winsomeness to womanly charm, depth and sexiness along with grand comedic instincts and distinctive vocal prowess.’
Hey, Look Me Over! – (Encores!) – New York City Center
‘(It’s) like a revival meeting, designed to restore any faltering faith we might have in the power of musical theatre at all levels to entertain. And it succeeds mightily.’
Picture: Helen Murray
MARCH
Misty – Bush Theatre, London
‘It plays out like a concept album brought to life in front of your eyes, with (Arinzé) Kene’s triple-threat training being incorporated to hugely impressive effect, effortlessly freestyling, moving with incredible precision and sending his head voice to the heaven.’
Frozen – St James Theatre, New York
‘The stage adaptation of (Disney’s) 2013 mega-hit animated film. It makes for a musical that shimmers and shines like an old-time fairy tale mashed with Broadway pizzazz… Rob Ashford’s choreography exudes a freshness, and the whole physical production is an eye-filling wonder, thanks in no small part to Christopher Oram’s richly textured scenic and costume design, glowing under Natasha Katz’s lighting.’
Grand Hotel the Musical – (Encores!) – New York City Center
‘The opulent six-performance revival of this 1989 musical – courtesy of the invaluable Encores! series at New York City Center – was indeed a reason for rejoicing. It provided nearly two hours of virtually non-stop, thrillingly dark musical theatre.’
APRIL
Teddy – The Vaults, London
‘Everything about Eleanor Rhode’s production is as well-crafted as it possibly could be, resulting in an engrossing, entertaining theatrical production that brings to life an era of teenage exuberance and violence as it emerges from the rubble of post-war London.’
Twang!! – Union Theatre, London
‘The production is high camp, full of innuendo, with hysterical pastiche references to many well-known musicals. Fast-paced and thoroughly entertaining, it is a must-see show… it would be lovely to see it transfer to one of the smaller West End theatres and for it to enjoy the success it richly deserves.’
Picture: Julieta Cervantes
Carousel – Imperial Theatre, New York
‘This new revival of the 1945 masterwork, directed by Jack O’Brien and choreographed by Justin Peck, is, in a word, ravishing… the score is so magnificently played and sung, with dance sequences that are simply so breathtaking.’
My Fair Lady – Lincoln Center at the Vivian Beaumont, New York
‘My Fair Lady has the no-expense-spared look and feel of Lincoln Center’s celebrated revivals over the past several years of South Pacific and The King and I, all three productions under the helm of director Bartlett Sher… (his) work gives the revival its own impressive sense of importance, with a series of breath-taking moments.’
Sunshine on Leith – West Yorkshire Playhouse and tour
‘Perhaps (Stephen) Greenhorn’s most astonishing achievement lies in devising a musical that feels fully integrated. If you did not know it, you would think that the songs had been written to match the script. There is never a sense that a song has been shoe-horned in simply because it is too good to leave out and the audience expects it. Contrast this with other jukebox musicals one could name.’
MAY
Pieces of String – Mercury Theatre, Colchester
‘Pieces of String is both a great love story as well as one full of heartbreak and loss. (Gus) Gowland presents us with a new ‘side effect of war’ which conveys a serious issue with a comic feel. I would love to see what could happen if this story was given the opportunity to be told on the West End stage… It is a truly brilliant and moving show.’
Summer: The Donna Summer Musical – Lunt-Fontanne Theatre, New York
‘A blizzard of silver confetti falling on the audience adds to the joy, and as with any good memorial, it leaves you impressed with the subject’s accomplishments and wishing she were still around to do even more.’
Heart of Winter – Live at Zédel, London
‘While there is something hugely refreshing in a musical that doesn’t contain a single minute of filler, it is also Heart of Winter’s biggest disappointment. For this song cycle is so enjoyable, so full of charm, that one wants to spend longer in its company.’
Picture: Mark Carline
A Little Night Music – Storyhouse Theatre, Chester
‘Everything about Storyhouse’s production of A Little Night Music simply oozes style… The vocal agility of the cast is clearly apparent in their solo numbers, but it’s in the passages of complex counterpoint that the genius of the score is most vividly realised.’
Effigies of Wickedness – Gate Theatre, London
‘In a world where Kander and Ebb’s somewhat sanitised impression of the 1930s Berlin cabaret scene has threatened to become the default version of history, Effigies of Wickedness re-establishes a sense of danger, of wonder, of defiance within the era, framing it in a 2018 style of cabaret that makes it an unmissable show.’
Return to the Forbidden Planet – Upstairs at the Gatehouse, London
‘With Grant Murphy’s effervescent choreography and a set design which houses more than one surprise, Upstairs at the Gatehouse revitalises a musical that, when more traditionally presented, could have shown its age. Instead, Return to the Forbidden Planet becomes one of the most enjoyable nights out to be had on the London Fringe this year. One feels that Bob Carlton, who passed away in January this year, has been justly commemorated here.’
Shrek the Musical – Blackpool Opera House & Tour
‘Adults love the in-jokes, youngsters adore the flatulence duet and isn’t everyone a sucker for a royal wedding? Maybe not, unless of course they brought in director Nigel Harman to make it all as speedy and seamless as this production. Full marks all round.’
Just Another Love Story – Above The Arts. London
‘This is a beautifully staged little gem, beautifully played too by musical director Simon Holt and his little band of three, and a truly delightful way to while away a couple of hours in the company of great music… And you wouldn’t have to be a dyed-in-the-wool Sondheim fanatic to enjoy it. Bliss.’
Kiss Me, Kate – Grand Theatre, Leeds & Tour
‘The show as a whole is the work of a master of the genre … With the excellent Chorus of Opera North on stage, reprising some of the songs, we have a fitting ending to a splendid evening in the theatre.’
The Rink – Southwark Playhouse
‘A not-to-be-missed, brilliant production of an underrated masterpiece deserving a transfer after its run at the Southwark Playhouse, although for now, it is the ideal venue for the delicacy of The Rink, enhancing the emotions by its intimacy.’
JUNE
Matilda the Musical– Milton Keynes Theatre & Tour
‘The moral of the story is poignant and memorable. Minchin’s lyrics are perfect for the Roald Dahl classic and show depth and meaning… This tour is not to be missed by both children and adults.’
It’s Only Life – Union Theatre, London
‘A theatrical event which, if one lets it, has the potential to be one of the most self-affirming theatrical experiences in a long while… one of the biggest-hearted shows one could hope for. Whatever one writes down as a fear on that piece of paper, one leaves the Union believing that one can face it down. And it’s a rare time when musical theatre is able to be that transformative.’
Kiss Me, Kate – London Coliseum
‘No gimmicks here, no updating it, no tampering with a gorgeously rich show which the massive Opera North orchestra and chorus under James Holmes’ baton have a ball with. The ensemble pieces fill the eye and the vast spaces of the Coliseum stage with glorious colour. This a seriously funny show as it stands and Opera North is to be congratulated on leaving well alone.’
West Side Story – Bishopsgate Institute, London
‘In one fell swoop, West Side Story returns to its roots, re-creating the visceral excitement of the original London production at Her Majesty’s Theatre that I experienced as a school boy… This production in the Great Hall at Bishopsgate Institute captivated the audience from the start.’
Picture: Marc Brenner
Fun Home – Young Vic, London
‘(Jeanine) Tesori’s music is a perfect partner to this story. It’s hesitant and delicate at times, lingering in the back of the mind as doubt, or hope, creeps in. Other times it swells and crashes through everything as anger or joy inevitably envelops those of every generation. It’s a muscular and passionate score, with an angularity to it which echoes the eternal disconnect of the family itself.’
JULY
King: The Musical In Concert – Hackney Empire, London
‘It becomes hard to believe that a show that sounds so authentically American, so true to the hearts of the civil rights struggle, could have come from the pen of a white, British actor… That (Martin) Smith’s music is as powerful and evocative with a small number of unaccompanied voices as it is with a full orchestra and two choirs gives one hope that King can find a life as a fully-staged musical.’
Me and My Girl – Chichester Festival Theatre
‘(Matt Lucas) is indeed an inspired choice. Right from his first entrance, it is apparent that the role fits him as snugly as the brown-checked suit he wears. His face is a glorious mixture of hangdog dolefulness and a cheeky grin. It is the strength of his singing and dancing skills that surprise. He is extremely nimble on his feet and is touching in his ballads…’
Rent – Frogmore Papermill, Apsley
‘The superb immersive location of the Frogmore Papermill takes the audience on a journey of love, sorrow and excitement by transporting you to the downtown slums of New York in Jonathan Larson’s 1996 Tony Award-winning musical Rent (based on Puccini’s La Boheme)… The cast really does a spectacular job in making you feel as though you are in New York as the narrative moves from one scene to another.’
AUGUST
I Wish My Life Were Like a Musical – Live at Zédel, London
‘With its tales of catastrophic auditions, ridiculous performance rituals, and obsessive fans, I Wish My Life Were Like a Musical offers a delightfully whimsical take on the musical theatre industry, imparting all the things you ever wanted to know but were too afraid to ask.’
On the Town – BBC Proms – Royal Albert Hall, London
‘There was a buzz in the air at the Royal Albert Hall because the audience attending a John Wilson concert know what’s in store and they were not disappointed… an evening of unadulterated joy under a conductor who is the consummate master of the medium.’
Picture: James Bellorini
Pericles – Olivier Theatre, London
‘Pericles – complete with a Bulgarian choir, Indian percussionists, a cheerleader team and a gospel choir (among other wonders) – is one of the most joyfully celebratory shows I’ve ever seen. It’s a terrific example of what can be achieved when you set out to celebrate the glorious range of talent and people there is across London.’
SEPTEMBER
Unexpected Joy – Southwark Playhouse, London
‘It is a show full of laughter, with a sprinkling of heartache and soul-searching and some fabulous songs performed brilliantly by the talented all-female cast – the perfect recipe for a great night’s entertainment.’
Sweet Charity – Nottingham Playhouse
‘I wouldn’t have missed Nottingham’s Sweet Charity for the world. No number of critical stars could do justice to its quality, ingenuity, versatility, choreography, hilarity – and social seriousness… It is a triumph. This is Nottingham Playhouse’s first-ever musical in over a decade, and it is the apotheosis of the musical.’
The Return of the Soldier – Hope Mill Theatre, Manchester
‘Over the last three years, the Hope Mill Theatre has played host to a number of hugely successful revivals and has built up an excellent reputation in doing so… The Return of the Soldier, however, is perhaps their most exciting production to date and proves the importance of supporting and nurturing new writing. It is a beautiful, captivating piece of musical theatre that deserves to have a future life; proof that taking a risk on seeing a new musical can provide plentiful rewards.’
OCTOBER
A Super Happy Story (About Feeling Super Sad) – Gravesend & Tour
‘This is a project which goes beyond entertainment with its attempt to address a serious issue that so many have to face. That it does so with humour and also entertains is a tribute to the team which created the piece. To say more would spoil its impact. Catch it on tour. It’s a little gem.’
Camelot – London Palladium
‘Presenting Camelot in a concert version was an inspired idea… Camelot holds a special place in the affections of many a theatregoer and this admirable presentation did it justice. One would love to see it again, maybe at a BBC Prom, the arena of the Royal Albert Hall would be perfect.’
Twelfth Night – Young Vic, London
‘Shakespeare has never been so accessible. This sparkling revamp of Twelfth Night fizzes away like a Berocca and injects vitality and much-needed zazz into the Bard’s ridiculous tale of gender-swapping, mistaken identity, and social and sexual politics… all to an infectious urban soundtrack.’
Mythic – Charing Cross Theatre, London
‘A high voltage adaptation of the myth of Persephone and Hades. Lee Newby’s costume designs are eye-catching, a meld of glam punk and goth. Oran Eldor’s score is tuneful and with a second or third hearing, many of the songs will become memorable. It’s pop/rock, middle of the road, but enormously enjoyable.’
Picture: Roy Tan
Company – Gielgud Theatre, London
‘This most audience-friendly and accessible of all Sondheim musicals (book by George Furth) was always funny and chock full of terrific songs but it’s now even funnier and all those songs are still there in director Marianne Elliott’s brave reworking.’
NOVEMBER
Girlfriends In Concert – Bishopsgate Institute, London
‘With a five-star cast led by Lucie Jones and Lauren Samuels this performance is unmissable… With new orchestrations by librettist, composer and lyricist Howard Goodall along with Simon Nathan, to hear the cast of nine women and two men sing this beautiful score is a real joy.’
Brass – Union Theatre, London
‘As a keen supporter of new British writing – and a long-time brass band member myself – I find an awful lot to like in (Benjamin) Till’s Brass. I’m excited that this wonderful show is getting an airing. It deserves to have a life long after the centenary commemorations, and beyond merely student productions. Up the Pals!’
Picture: Joan Marcus
King Kong – The Broadway Theatre, New York
‘At the helm, director-choreographer Drew McOnie masterfully pulls all the elements together into one coherent and affecting piece of musical theatre storytelling. His choreography has a contagious vibrancy… This King Kong is more than just an eye-popping puppet show. It’s a boldly conceived, legitimate piece of musical theatre.’
Sweet Charity – Pimlico Opera – HMP Bronzefield, Surrey
‘Put an Olivier-nominated actress (Laura Pitt-Pulford) alongside inmates of HMP Bronzefield, stir in a 12-piece orchestra, a stage in a prison and the expertise of Pimlico Opera and what you got was a terrific Sweet Charity.’
Hadestown – Olivier Theatre, National Theatre, London
‘Rachel Hauck’s exquisite set is as intimate as it is later colossal and imposing, splitting violently apart to reveal the rust and steel veins of the underworld… Liam Robinson’s band dots the surface, appropriately virtuosic and raucous, holding up (Anais) Mitchell/Michael Chorney/Todd Sickafoose’s folk-symphonic orchestrations with the best of musicianship, and Hermes (the incomparable André De Shields) leads his three Fates in telling the tale, in close and delicate harmony.’
Motown The Musical – Edinburgh Playhouse & Tour
‘(Berry) Gordy has conquered the stage with a masterpiece. Delivered by Baruwa, the range and spiritual depth of the song is beautifully arranged, following the emotional trajectory of Gordy’s lifework to perfection… The joy was palpable as the audience leapt to their feet to join the celebration of this unique brand of music – singing and dancing with the assembled cast of 25 gifted performers. Utterly unmissable!’
Billionaire Boy The Musical – NST City, Southampton & Touring
‘The real genius of the creative team – Jon Brittain (writer and lyricist), Miranda Cooper (composer and lyricist), Nick Coler (composer) – is their uncanny ability to mix moments of poignancy and unbridled joy with humour that rings of an awareness of the full scope of the audience.’
Plaid Tidings – Bridge House Theatre, London
‘Guy Retallack’s production has warmth and inventiveness enhanced by the superbly funny choreography of Paul Harris. It’s parody 1960s but given an original spin. From the ghostly opening to the moving climax, the production never hits a wrong note.’
DECEMBER
Fiddler On The Roof – Menier Chocolate Factory, London
‘This gorgeous production, nestled in the intimate Menier Chocolate Factory, does what all productions of Bock and Harnick’s Broadway classic need to do – make you cry with tears of laughter and sadness – but does it with a rare emotional intensity. And it has a cast to die for.’
Picture: Matt Crockett
The Band – Theatre Royal Haymarket, London
‘The script, choreography and visuals work harmoniously to create a spectacle that is both relevant to an audience who grew up during the Take That era, and also to everyone else in between. The musical offers the ultimate escapism into the whirlwind infatuation of boy bands, an experience that is still applicable to young people today. For this reason, The Band is a must-see.’
Clueless, the Musical – The Pershing Square Signature Center, New York
It’s a youthful revel, smartly and lovingly put together with a satiric edge, one that should satisfy the film’s legion of fans.
A Chorus Line – New York City Center
‘What made this event so unforgettable was the communion between the performers and the audience, stopping the show with standing ovations after every number and sometimes within. The electrifying atmosphere culminated of course with the gold-adorned finale, ‘One’.’
Hansel and Gretel – Rose Theatre, Kingston Upon Thames
‘Get yourselves down to Kingston for this brilliant adaptation of one of the most enduring fairy tales by the Brothers Grimm. The Rose Theatre’s family Christmas show is not just a winner, it’s a masterpiece.’
Caroline, or Change – Playhouse Theatre, London
‘Sharon D Clarke commands as Caroline, a woman wrestling to resist the hurricane of change sweeping the decade. Her 11 o’clock number ‘Lot’s Wife’ has none of the pomp and ceremony of a moment like ‘Rose’s Turn’, but offers a dignified moment of self-reflection and revelation no less cathartic.’
Nice Work If You Can Get It – Upstairs At The Gatehouse, London
‘How lucky we are in the end that the West End transfer never happened as this show, in the expert hands of John Plews, works just as fine in an intimate space.’
Nativity! The Musical – Eventim Apollo London
‘Spectacular and hugely entertaining, it’s a sumptuous visual and musical festive feast with all the trimmings that tugs at the heartstrings and defies you not to sing along and laugh out loud.’
Compiled by Angela Thomas
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