We used to create our ‘Show of the Year’ feature by going back through past reviews and picking out all the productions that received four and five star reviews.
In recent times, we have changed that approach and instead asked Musical Theatre Review’s brilliantly talented team of expert critics, based across the UK, to name one particular show that made the biggest impression on them during the last 12 months (although, as you can see below, some struggle to pick just one).
The results are extremely satisfying because they demonstrate once again what the wonderful genre of musical theatre can achieve in all its different shapes and forms.
The list features the most anticipated revival of the year (Jamie Lloyd’s staging of Andrew Lloyd Webber and Tim Rice’s Evita, starring Rachel Zegler), but also an innovative, intimate production of the same songwriters’ Jesus Christ Superstar at the Watermill Theatre, Bagnor. Drew McOnie’s first season in charge at Regent’s Park Open Air Theatre also had an impact, thanks to a magical revival of Brigadoon and the UK premiere of Broadway hit Shucked, as did the transfer of Broadway’s The Great Gatsby.
In the West End, the brand-new, five star British musical Paddington The Musical proved a hit (getting two mentions), but it’s also great to see Seiriol Davies’ rather less mainstream How to Win Against History receive the same kind of recognition.
Look out for London Fringe and regional premieres, touring favourites, a cabaret, an operetta, a student production and a cinema screening, not to mention Pimlico Opera’s outstanding prison work. There’s also space for dramas where music plays an integral part in the storytelling (Stereophonic, The Ministry of Lesbian Affairs).
Best of all, there are several mentions of new writing which we love to champion at Musical Theatre Review, including our Best Musical Award winner at the Edinburgh Festival Fringe 2025, Hot Mess by Ellie Coote and Jack Godfrey.
The shows represent just a small percentage of productions staged this year, but we hope these ‘top picks’ bring back some happy memories.
In the meantime, we wish all our contributors and readers a very Happy New Year – one in which, we hope, the theatre industry continues to thrive.
Lisa Martland, Editor
Picture: Marc Brenner
IAN BOWKETT
Stereophonic – Duke of York’s Theatre, London
Another great year for musical theatre! As a devotee of Stephen Sondheim, it was a joy to see both Bridge Theatre’s spectacular production of his classic Into the Woods, as well as the National Theatre’s UK premiere of Here We Are. The latter, his final work, showed him to be as boundary-pushing and technically fascinating as ever.
There were a couple of fantastic smaller scale shows that also deserve a shoutout, both at the ever-brilliant Southwark Playhouse. Longtime cult-favourite Ride the Cyclone more than lived up to its reputation for the most catchy and hilarious songs about death you will ever hear. Speaking of catchy, I still have stuck in my head the entire score of Mona Loser, which was performed in a workshop stage in the summer. This brand new piece by Kit Buchan and Jim Barne is one to look out for as it heads to Birmingham Hippodrome next year.
But my absolute favourite show of the year was Stereophonic. While not quite a ‘musical’ in the traditional sense, these three hours in a stunningly recreated 1970s recording studio with a band that is definitely not Fleetwood Mac recording an album that is definitely not Rumours were sublime. I admired how it cleverly re-created the tedium of being trapped in a room with a band doing take after take or the same few bars of a song for hours by trapping me in a room with a band doing take after take of the same few bars of a song for hours.
Somehow, this becomes electrifying theatre as the band members’ explosive interpersonal relationships are turned into explosive music. Somebody book this cast’s fictional band for a music festival next summer and I will be there in my wellies singing along.
JEREMY CHAPMAN
Made in Dagenham – HMP Bronzefield, Ashford, Surrey
In a year when I seemed to spend more time in hospital than a theatre, the only two West End revivals I reviewed were Oliver! and Evita, both exciting but for sheer pleasure nothing could match Made in Dagenham, brilliantly performed by the inmates of HMP Bronzefield and the professionals of Pimlico Opera. I’ve seen a dozen of these bold and so-worthwhile collaborations and this was the most polished yet.
Honourable mentions for an outstanding jukebox musical, the touring Sunny Afternoon which stopped off at Wimbledon; a fascinating two-hander, Marie & Rosetta, with Beverley Knight and Ntombizodwa Ndlovu at the Rose in Kingston; and an exceptional student production of Come From Away by PPA Guildford.
Memorable cabarets and concerts too from Ann Hampton Callaway, her little sister Liz, Melissa Errico, Dillie Keane, Lee Mead, Kerry Ellis and the highly amusing Ceri Dupree.
CHRISTINE DRABWELL
Bat Out of Hell – Milton Keynes Theatre and Touring
My vote goes to Bat Out of Hell, for injecting new energy and creativity to Jim Steinman’s electrifying hit musical. The young cast gelled together perfectly, and the stage set and imaginative use of big screen videos brought a taste of the Meat Loaf magic in a fresh and exciting way.
Picture: Richard Hubert Smith
ADRIAN EDWARDS
Nine – Royal Academy of Music, London
It’s a close run between Brigadoon at the Regent’s Park Open Air Theatre and Nine, mounted by the Royal Academy Music Theatre in the Academy’s Susie Sainsbury Theatre.
Nine wins my vote by a margin. The received perception of Tommy Tune’s original production was one of style over substance and it’s true that Maury Yeston’s unassuming score is pleasant if little more, and the book by Arthur Kopit, a bit of a yawn parading the sequence of women passing through the life of the central figure of the film director, Guido. However, the director of this production, Hannah Chissick, in an inspirational touch, emphasised the growing and touching relationship between Guido and his son, Young Guido, aided and abetted by two remarkable performances by Alex Matangi and Louis Wilkins who were part of the company in Cast A.
Choreographer Shay Barclay and set and lighting designer Andrew Exeter, along with sound, video and costume designers Michael Woods, Jack Baxter and Sophia Pardon, gave their considerable talents to the making of this production, one that compelled our attention from the word go. The icing on the cake was provided by the 16-piece Musical Theatre Orchestra conducted by Gabriel Margolis (cast A) who wove their magical underpinning throughout the closely webbed score, always at one with the fine singing cast. Congratulations to them all.
Picture: Pamela Raith
SORCHA EXWORTHY
13 Going On 30 The Musical – Opera House, Manchester
My show of the year was undoubtedly 13 Going On 30 The Musical. As a fan of the original movie, and having seen the cast of this production perform in clips from the previews press event, I had high hopes by the time press night rolled around and honestly (it sounds clichéd but it’s true!) it was even better than I expected.
The teenage company were insanely talented, the adult company equally so, and the score was catchy and memorable. I still think about some of the scenes months later. It’s very rare that all of the departments involved in making a show achieve the same incredibly high standards, so I’m thrilled 13 Going On 30 has recently been recognised with several WhatsOnStage Awards nominations. Hopefully it gets the wins it deserves – plus a West End transfer soon.
Picture: Manuel Harlan
LEON FERGUSON
Girl From the North Country – The Old Vic, London
Though not having reviewed a great deal because of personal circumstances, tallying up productions I saw, by virtue of my partner’s access seating, I’ve counted around 25 performances. Some were shows I revisited, some were plays. Dance, opera and music theatre. There were virtuoso performances (Sean Hayes) and thought-provoking, multi-lingual creations like Lacrima, both at the Barbican. Opera like Festen with a truly shocking moment. Revivals of works I will never tire of like Matthew Bourne’s Swan Lake and a fourth visit to Operation Mincemeat.
My top choice play would be the underrated The Code at Southwark Playhouse, featuring Tracie Bennett as Tallulah Bankhead and John Partridge as Billy Haines. Vividly acted by Bennett, Partridge and the rest of the company, the piece began with a focus on Hollywood gossip about sex and influence but morphed into something much more profound and moving about sacrifice and façade.
Musical-wise, though, I have to pick a visit to see the new cast of Girl From the North Country. The 2025 company was every bit as good as the original production, with performances so good that I saw it twice in two weeks.
Picture: Marc Brenner
JOE FLAHERTY
Evita – London Palladium
Evita was unquestionably my favourite show of the year, thanks in large part to the incandescent, generationally gifted Rachel Zegler, who led the company with extraordinary power and grace. Her performance was a masterclass in emotional precision and vocal brilliance. Every entrance felt like a surge of electricity. She deserves every award, every bouquet and every accolade imaginable. Paired with a production that was visually stunning, intensely captivating and deeply moving, the entire experience felt nothing short of transformative. It had me in floods of tears from start until finish.
Bella Brown brought a quiet, aching poignancy as the Mistress, delivering a beautifully heartfelt ‘Another Suitcase In Another Hall’ that lingered long after the final note. Diego Andres Rodriguez’s astonishing turn added yet another vibrant dimension to the show, his rocky, textured vocals giving the performance a thrilling rawness. Together, the cast created a piece of theatre that was alive, urgent and unforgettable, an extraordinary production that left a lasting imprint.
Picture: The Other Richard
MOLLY GLENN
How to Win Against History – Bristol Old Vic, Norwich Playhouse and Edinburgh Festival Fringe
This last year has been jam-packed with eclectic and memorable musicals, from the immersive nostalgia of Club NVRLND to the ongoing mainstream magnificence of Six.
One show stood out as recommendable to all. For its charm, attention to detail and expert execution, How to Win Against History took centre stage.
This musical told the sweet and sorrowful story of Henry Cyril Paget, the misunderstood 5th Marquess of Anglesey. All of the songs were original and superbly performed by its actors and musicians alike.
Paget, portrayed flawlessly by musical composer and writer Seiriol Davies, was dazzling. Alongside him was the gloriously versatile Matthew Blake, in the roles of… pretty much everyone else. The piece was choreographed in every detail and together the pair, supported by brilliant musicians, carried the audience to exactly where they wanted them to go.
How to Win Against History was a heartfelt comedy, infused with love and understanding for all eccentrics, which stayed in the memory both for its flamboyant aesthetic and overall warmth. With glowing reviews since it began in 2016, the show will, no doubt, return in the future, so keep an eye out for this gem.
Picture: Craig Fuller
EFFIE GRAY
HMS Pinafore – London Coliseum
My pick of the year was English National Opera’s HMS Pinafore at the London Coliseum; a joyous production full of wonderful singing and great laughs.
Mel Giedroyc was shoehorned into the production in a plot twist worthy of Gilbert himself. She was taking part in a reciprocal arts swap programme, ARSE; a member of the chorus was making a programme on pickles around the world with Michael Portillo.
Giedroyc and John Savournin (the captain) began proceedings in front of the curtain with a double act worthy of Morecambe and Wise. This continued throughout the evening. Savournin was an excellent straight man to Giedroyc as she caused mayhem. Gilbert and Sullivan were writing at the peak of English music hall, and Morecambe and Wise emerged from the dying embers of the music hall tradition, so the tribute felt apt.
There were back-flipping sailors, tap dancing hornpipes and a smelly Dick Deadeye shooting stuffed albatrosses. Despite these highly entertaining antics, it never distracted from the excellent singing.
I have to confess that when the flag of English National Opera was unfurled during the rousing ‘For He is an Englishman’, this long-time fan of the beleaguered comany had a tear in her eye and a lump in her throat; going by the roar from the audience, I was not the only one. A top-notch orchestra in full flight, terrific singing, jokes galore and under-21s go free, what more could you ask for?
HANNAH GRIMMETTE
Matthew Bourne’s Swan Lake: The Next Generation – Milton Keynes Theatre and Touring
Matthew Bourne’s reimagining of Swan Lake wasn’t just my show of the year, it was my show of the decade. The clever twist on the classic is not just genius, it’s art. As I said in my original review: “It’s an unmissable production I won’t forget for a very long time.” If you ever have the chance to experience this new take on Swan Lake, I urge you to go. It’s easy to see why it’s been a hit for over 30 years.
Picture: Roy Tan
MARINA HOLMES
The Great Gatsby – London Coliseum
I have been lucky enough to see more than 60 shows this year and my star choice for 2025 would have to be The Great Gatsby which stole my heart as a devoted fan of the film, novel and now this glitzy musical adaptation. This glamorous, high stakes, high energy production truly captured the Roaring Twenties and the real tragedy and beauty of the story. The sheer spectacle of the production in itself was breathtaking and lived up to the opulent American Dream that Gatsby was striving for.
What truly made this production was the company of crème de la crème West End stars. Jamie Muscato encapsulated the enigmatic Gatsby with great sincerity and charm, with his performance of ‘For Her’ being a standout moment of the show. His great chemistry with Frances Mayli McCann as Daisy was mesmerising throughout. Corbin Bleu made his West End debut as the charismatic Nick Carraway, becoming a friend to the audience as our narrator and dazzling us with his rich voice. I hope to see this ‘party’ of a production return in the future.
I would also want to give Ride the Cyclone a special mention. It was a weird and wonderful addition to the London theatre scene of 2025, almost creating its own genre of musical theatre. With a stellar cast of rising stars and a sold-out run, I’m looking forward to seeing where it rides to next.
Picture: Johan Persson
PATRICK HONORÉ
Paddington The Musical – Savoy Theatre, London
From the moment that lovable bear in his duffle coat and battered hat shuffles onto the stage at the Savoy Theatre, something extraordinary happens. Paddington’s first appearance is a moment of pure theatrical magic, and what follows is quite simply the best new musical to grace the West End in years. Paddington The Musical isn’t just a charming family show – it’s a triumph of imagination, heart and theatrical craft.
The genius lies in how brilliantly Paddington has been brought to life. Through an inspired combination of Arti Shah’s graceful physical performance inside the bear costume and James Hameed’s nuanced vocal work operating offstage, Paddington feels genuinely present in the room with us. It’s an astonishing feat – you forget you’re watching puppetry and simply believe. The bear’s expressive face, his endearing waddle, his earnest politeness – every detail works in perfect harmony to create a character who moves audiences to both tears and laughter within minutes.
Jessica Swale’s book strikes the perfect balance between adventure and emotion, while Tom Fletcher’s score is an absolute delight. The ensemble cast is uniformly excellent, with always excellent Victoria Hamilton-Barritt delivering a scene-stealing turn as the villainous Millicent Clyde, and the great Bonnie Langford bringing her legendary talents to Mrs Bird with perfect comic timing. Amy Ellen Richardson’s Mrs Brown provides the emotional anchor.
Luke Sheppard’s direction keeps everything moving at a perfect clip, while Tom Pye’s gorgeous set design transforms the Savoy into a magical corner of London. This is theatre at its most joyous and affecting, a production that sends you back out onto the Strand feeling lighter, kinder and more hopeful about the world.
JOLIEN LAEREMANS
50 First Dates – The Other Palace, London
50 First Dates was such a beautiful story that touched me in so many ways. It was performed at the intimate The Other Palace, so you were super close to the action, which I loved. The cast and the songs were amazing. It was something I had never seen before, and it definitely made an impression on me. The chemistry between the cast members felt so real, and Josh St Clair and Georgina Castle were perfect for their roles. I cried and laughed so much.
Picture: Mark Senior
RHYS LEWIS
Brigadoon / Shucked – Regent’s Park Open Air Theatre
For his first season as Regent’s Park Open Air Theatre artistic director, Drew McOnie couldn’t have chosen two more suitable productions to build on the alfresco success of 2024’s stunning staging of Fiddler on the Roof.
In late summer, the Inner Circle bower was transformed into the Highlands of Scotland for a revival of Brigadoon, a show that appears in the West End almost as infrequently as the mythical centennial village itself.
Director McOnie whisked us away to the heather-fringed moors to the sound of pipes and drums before bringing the many and varied characters of MacConnachy Square to life. Sami Fendall’s earthy, subtly be-tartaned costumes complemented the setting, and by moving the plot to the Second World War – game-hunters Tommy and Jeff were injured US airmen – Rona Munro’s new adaptation made their discovery even more serendipitous and their plight more pressing.
Principals Louis Gaunt (Tommy) and Georgina Onuorah (who shared the role of Fiona with Danielle Fiamanya) helped breathe new life into Lerner and Loewe’s somewhat ageing score, but for me it was Nic Myers’ fiery, flirty Meg who stole the show.
An ocean apart from Brigadoon, but not a million miles away, was the Midwest town of Cob County, the setting for the Open Air Theatre’s first musical of the summer, Brandy Clark and Shane McAnally’s 2022 Broadway hit Shucked.
Directed by Jack O’Brien, the London debut of this unashamedly corny show raised the barn on the corn-crazy town which no one ever leaves (sound familiar?) until the crop fails and farm girl Maizy volunteers to travel to Tampa to find help. Sophie McShera was wide-eyed and wonderful as the naive Maizy and twin narrators Monique Ashe-Palmer and Steven Webb held the fast-paced plot together and negotiated dozens of cereal-based gags before providing a little twist of their own at the end. But like Brigadoon’s Meg, another strong woman stood out from a talented ensemble, Georgina Onuorah bringing the barn down every night with distillery owner Lulu’s sultry and defiant ‘Independently Owned’.
Cats may be hogging the headlines ahead of next year’s Regent’s Park season but if McOnie’s other choice of musical is as entertaining as this summer’s offerings we’re in – weather permitting – for a great night out.
LISA MARTLAND
Paddington The Musical – Savoy Theatre, London
When I mentioned to a friend of mine that I had chosen Paddington The Musical as my show of the year over the hit revival of Evita, they couldn’t believe I had picked a ‘children’s show’ over such a high-octane, gig theatre-style take on a musical theatre classic.
There isn’t enough room here to list all the reasons for my decision, but here’s a few: this is not a revival but a brand-new British musical in which all the creatives, led by director Luke Sheppard, collaborate to create something truly special; storytelling is at the heart of everything penned by librettist Jessica Swale and composer Tom Fletcher (I already listen to the available tracks on repeat, bring on the cast album!); across the board the cast is outstanding and James Hameed and Arti Shah’s portrayal of Paddington has the audience enchanted from the bear’s very first appearance; the show’s message to be kind and inclusive feels more important than ever; and then there’s the impact the piece will have on the huge number of children who will see it, inspired by the magic of theatre at its very best. I rest my case…
Picture: Mark Senior
SCOTT MATTHEWMAN
The Ministry of Lesbian Affairs – Kiln Theatre, London
It would be so easy to let recency bias kick in and nominate the sublime Paddington The Musical. Or to go the other way and cite January’s haunting James Joyce: The Dead with Niamh Cusack narrating Joyce’s short story, set at Twelfth Night, accompanied by the Fourth Choir, London’s LGBTQ+ classical choir.
Instead I’m going to opt for another choral-themed work. While not a conventional musical, The Ministry of Lesbian Affairs at Kiln Theatre had music running through its bones. Its story of an amateur lesbian choir saw the group facing pressures from outside and within as they rehearsed for a coveted spot on the London Pride main stage. Stirring music mixed Tracy Chapman, King Princess, Lady Gaga and Carl Orff in a play that, through laughter and song, also exposed us to homophobia, transphobia and ableism in ways that felt fresh and original.
Its attempt to engage with how much harder queer women have had to fight, and how that can feed into discomfort around trans women’s inclusion, felt like a grown-up and thoughtful approach to an issue which many people online are determined to turn into something baser. If all LGBTQ+ discussions were as considerate, compassionate and funny, our lives as queer people would be all the better for it.
Picture: Joan Marcus
LEE MOTTERSHEAD
Merrily We Roll Along – Broadway production, cinema screening
I ummed and I ahhed, I dillied and I dallied. By the time I finally decided travelling to New York purely to see Merrily We Roll Along could be justified, it was too late. The show was about to close and my time had run out. The error leaves me with enormous regret, which seems appropriate when discussing the Sondheim masterpiece.
Fortunately, my wrong was sort of been righted, not in Broadway but in the Picturehouse just off Epsom’s high street.
A harsh observer might say nominating a filmed screening as your musical of the year bends the rules. In response, I could say that the runner-up in my league table would have been the Barbican’s Good Night, Oscar, which was a play not a musical but dis include Sean Hayes sitting in front of a piano and playing ‘Rhapsody in Blue’. Rules are there to be broken.
The London revival of The Producers was wonderful and I was also more than a bit fond of Shucked at Regent’s Park. Maria Friedman’s revival of Merrily was, however, sublime.
The Broadway production starred Jonathan Groff, Daniel Radcliffe and Lindsay Mendez. I loved them, the songs and the way in which stage was brought to screen.
I’m now filled with almost as much regret as Groff’s Franklin Shepard at the start (and therefore the end) of the story. I really should have gone to New York. On the other hand, I’ll always have Epsom.
Picture: Mark Senior
FIONA ORR
Hot Mess – Edinburgh Festival Fringe, Southwark Playhouse, London
The premise is that Planet Earth (Danielle Steers) has become jaded with her former ‘partners’ from single-cell amoebas to the wonderfully predatory dinosaurs. Things take an optimistic turn when she accepts the attention from Hu Mankind (Tobias Turley) when he appears on the scene.
Ellie Coote (book and direction) and Jack Godfrey (music, lyrics and co-orchestrator) created a highly polished show here, with support from Birmingham Hippodrome’s New Musical Theatre department. If Hot Mess is a hint of what they can nurture, musical theatre fans will be keeping an eye on the project to see what happens next.
The curved setting created a hemisphere playing area that was beautifully exploited by Coote’s direction and Alexzandra Sarmiento’s movement. These details, as well first class performances, contributed enormously to the general feeling of quality that Hot Mess delivered. No wonder it became Musical Theatre Review’s Best Musical winner at the Edinburgh Festival Fringe 2025.
Picture: Avery Brunkus
ELISHA OWEN
Laura Benanti: Nobody Cares – Underbelly Boulevard Soho, London
My favourite show of the year was a masterclass in how little you actually need onstage when the performer is this good – Laura Benanti’s one-woman show, Nobody Cares, at Underbelly Boulevard Soho.
Anyone that follows Benanti on Instagram or has seen her Melania Trump impressions on late-night shows, will know she’s famously very funny, but what made this show electric was the way her expert comedic timing sat alongside real honesty. She hopped effortlessly between razor-sharp anecdotes, Broadway war stories, self-deprecation and moments of unexpected vulnerability, all delivered with that enviable combination of warmth and utter command.
Benanti leaned into the intimacy of the venue completely, treating the audience less like ticket holders and more like confidantes. You could feel the room listening before erupting into laughter or applause. It was generous, fearless and technically immaculate without ever feeling too polished.
In a year full of spectacle, this was proof that presence is everything. No gimmicks, no excess – just voice, timing, music and charisma in abundance. A reminder of why live performance matters, and why sometimes one brilliant person (with a few musicians and the right songs) is more than enough.
CHARLOTTE PURKIS
How to Win Against History – Bristol Old Vic, Norwich Playhouse and Edinburgh Festival Fringe
There were many aspects to Seiriol Davies’ show How to Win Against History that made it my number one for 2025.
The glamour and glitz of this Francesca Moody production, with book, music and lyrics and leading role all created by Davies, immediately made it a crowd pleaser.
A good time was had by all (even the protagonist in the naivety of their anti-hero stance). The show’s pizzazz was underpinned by an ever-lively onstage band comprising skilful actor-musicians who brought a period feel which grafted Edwardian luxuriance onto early modernist popular culture.
The show’s genesis is intriguing because it is based on so few remaining historical traces, and insightful in demonstrating how Plas Newydd and the reputation of its 5th Marquess of Anglesey can be resurrected from apparent erasure.
Its pantomimic tongue-in-cheek ‘postmodern’ playfulness was also highly provocative and inspiring because of how the show questioned how heritage worked as an industry of meaning-making, and suggested why it was important. This overall stance of the show was, for me, of real contemporary importance, which the methods for encouraging audience participation successfully underlined. The production had been percolating for a decade and self-defined as a Fringe show which challenged the mainstream, just as Henry Cyril Paget’s own life story did. Gloriously camp with a catchy through-composed score driving its musical momentum: I absolutely loved it!
MICHAEL QUINN
Murder for Two – The Mac, Belfast
Two Northern Irish premieres competed for top musical theatre accolades this year: Stephen Sondheim’s Follies from Northern Ireland Opera, reviewed by my colleague, Jane Hardy, and Bruiser Theatre Company’s staging of Joe Kinosian and Kellen Blair’s Murder for Two. For sheer chutzpah and unstinting energy, the latter, with the narrowest of margins, wins out.
Staged at Belfast’s The Mac, it gleefully collided the English country house murder mystery and the Broadway musical into satisfyingly silly mayhem. Lisa May’s sugar-rush of a production made much of both, with lashings of vaudevillian humour and set-piece songs affectionately pastiching the Great White Way at its most ostentatious and sentimental.
Frenetic but virtuosic performances by Rob Gathercole’s would-be detective investigating the murder of a famous novelist, and Will Arundell’s athletic shape-shifting between more than a dozen assorted suspects, added greatly to the fun and pleasure.
Stylishly designed by Stuart Marshall and Gillian Lennox, with Jennifer Rooney’s spot-on choreography, Murder for Two may not be without its faults, but Bruiser’s hugely entertaining staging saw it punching gloriously above its weight.
JULIA RANK
My Fair Lady – The Mill at Sonning
My Fair Lady is the crème de la crème of musicals and I was intrigued as to how a ‘boutique’ staging at the Mill at Sonning would work. Joseph Pitcher’s production had so much warmth as well as intelligence and the ingenious choreography fully showcased the ensemble’s talents and made them a vital part of the storytelling. I know My Fair Lady isn’t a romance but I was really rooting for Nadim Naaman’s Higgins and Simbi Akande’s Eliza to get together and make things work.
NIGEL SMITH
Miss Saigon – Palace Theatre, Manchester and Touring
It’s not hard to choose my top pick from the shows I have covered for Musical Theatre Review this year. The new UK tour of Miss Saigon really feels like a theatrical event. It surpasses previous touring productions with a tremendously impressive set, outstanding lighting and a top-flight cast, including an extraordinary professional debut from Julianne Pundan.
To reassure the sceptics, it does feature a dramatic physical staging of the helicopter scene in Kim’s nightmare, and the cast absolutely filled the stage of Manchester’s Palace Theatre in the ensemble numbers. For lovers of Boublil and Schönberg’s work, this is one not to be missed.
A close runner-up, and in complete contrast, David Baddiel’s The Parent Agency, which premiered at Chester’s Storyhouse in February, was a show that really impressed with its ability to connect with its young target audience. A sort of Wizard of Oz for the 21st century, The Parent Agency reworks Baddiel’s storybook (libretto and lyrics by Baddiel himself and music by Dan Gillespie Sells), with clever doubling of characters, reinforcing its ‘careful what you wish for’ message and proving that there really is no place like home.
Picture: Chris Saunders
PAUL SZABO
Gwenda’s Garage – Tanya Moiseiwitsch Playhouse, Sheffield, Southwark Playhouse, London
This year, I have been able to tick off a couple of shows from the ‘not seen before, but desperate to see’ list. I finally got to see The Book of Mormon in Leeds and I am pleased to say that it didn’t disappoint – delivering far more big-scale musical numbers than I anticipated and plenty of belly laughs with some very near to the bone humour. I also finally made it to Moulin Rouge! when it hit Manchester in the autumn, and was absorbed by its outstanding performances, opulent production and stunning musical numbers.
Both of those join the ranks of my top shows this year and sit alongside a new production called Gwenda’s Garage, a small-scale production at the Tanya Moiseiwitsch Playhouse in Sheffield during its inaugural run.
Set against the backdrop of Thatcher’s Britain and the introduction of Clause 28 which prohibited the “promotion of homosexuality” in the mid 1980s, it told the story of a garage run by a group of lesbians which becomes a hub of education, empowerment and a safe space for women and the gay community.
Based on a true story and packed with local references that brought back long forgotten memories for this Sheffield-based writer, it felt raw and in need of a bit of tinkering, but the show had an abundance of energy, some great songs and a lot of potential. It might not have been the most polished or perfected production I saw this year, but there was a strong social conscience under the bonnet of the breezy musical; and at a time of such political division, it felt timely in its reminder of the power of alliance, acceptance and activism.
JULIE WATTERSTON
Jesus Christ Superstar – Watermill Theatre, Bagnor
Beyond expectations, the creative use of the Watermill’s outside space extended to another dimension with this ground-breaking production of Jesus Christ Superstar, pushing boundaries and making this a truly immersive experience.
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