As each year draws to a close, Musical Theatre Review usually pulls together a round-up of all the productions covered that have received four and five star reviews. After such an extraordinary year, during which any production staged has been a triumph over adversity, such an approach seemed inappropriate.
Instead, I asked a small group of our regular reviewers to pick their Top 5 shows from 2020, whether they be live or digital productions. Below are their responses, exactly as they sent them to me, and they certainly make for interesting reading.
Congratulations to every single artist and theatre-maker who created these shows (and many more) during such a devastating year for the arts, continuing to stimulate and entertain audiences whatever the restrictions thrown at them.
My thanks also to all the excellent contributors who write for Musical Theatre Review with such a love and passion for theatre.
Finally, we thank YOU, our readers and followers, for taking such an interest in the content we offer and engaging with us across all our social media platforms. It makes such a difference.
Here’s to a much-improved, theatre-filled New Year.
Lisa Martland, Editor, Musical Theatre Review
Scott Matthewman
Rags, Park Theatre
Stephen Schwartz and Charles Strouse’s musical about a family of Jewish immigrants to America has been much revised over the years. This version, produced by Manchester’s Hope Mill Theatre, has settled on a version of the story that, with its themes of heritage, assimilation and xenophobia, feels like the production it was always destined to be.
Message in a Bottle, Peacock Theatre
A hip-hop musical about refugees shouldn’t work. Nor should a jukebox show featuring the music of Sting and The Police. And yet together, Kate Prince’s ZooNation created the company’s most beautiful, lyrical and heartbreaking work yet.
Romantics Anonymous, Bristol Old Vic and Online
Emma Rice’s lushly comedic romance about socially awkward chocolatiers had a brief run at Bristol Old Vic before what was due to be a tour of America. While the international leg had to be cancelled, later in the year Rice’s company Wise Children restaged the show in Bristol for a live streaming audience.
Turn Up London, Cadogan Hall Online
When the Black Lives Matter protests reached their peak, the pandemic limited the ability of the arts community to fully respond. A rare exception was Turn Up London, streamed from the stage at Cadogan Hall and featuring songs and poetry to raise funds for charities. A wide array of black voices from the West End and further afield came together with songs, poetry and spoken word to rejoice, stand together and push for change.
The Fabulist Fox Sister, Southwark Playhouse Online
Luke Bateman and Michael Conley’s monologue musical sees Conley play Kate Fox, a 19th century American who, with her two sisters, popularised the “tap once for yes” style of séance as public entertainment. Was it wickedly funny? Tap. Does it show that smaller, newer musicals can also work in a streaming environment dominated by larger names? Tap. Did enough people see it? Tap, tap.
Jeremy Chapman
Obviously it was a much truncated year and there were not many five-star shows. The five I’ve come up with are two free lockdown streams, Pieces of String and Flowers For Mrs Harris, Christina Bianco’s barnstorming Funny Girl at the Marigny in Paris, the fine touring version of Cabaret at Wimbledon, Hairspray at Bronzefield Prison and Ute Lemper’s remarkable Marlene Dietrich show in Guildford.
Pieces of String, Mercury Theatre Colchester Online
A painful gay Second World War love story at a time when coming out ran the genuine risk of a spell in jail. Gus Gowland came up with some terrific songs and a heartbreaking narrative in a 2018 Mercury Colchester production that didn’t get the West End transfer it deserved. There’s still time.
Picture: Johan Persson
Flowers For Mrs Harris, Chichester Festival Theatre Online
The Chichester Festival Theatre offering from 2018 (but had been premiered at Sheffield Crucible two years earlier) about a post-war widowed charlady (Clare Burt, wonderful) who had never been abroad pushing the boat out to mix with the haute couture of Paris and buying the dress she had fallen in love with when cleaning the home of a rich client. A simple joy with songs by Richard Taylor.
Funny Girl, Theatre Marigny Paris
When I reviewed Funny Girl with Sheridan Smith’s Fanny Brice at the Menier, I called it a five-star performance in a three-star show. Pocket rocket Bianco, all 4ft 11 of her, had Parisians eating out of her hand in a run extended to four months. This was another five-star solo performance but was almost matched by Stephen Mear’s superior production.
Cabaret, New Wimbledon Theatre and Touring
Cabaret is Kander and Ebb’s masterpiece and I can never get enough of it. The touring version I saw at New Wimbledon Theatre had an Emcee in the underrated John Partridge that was right up there with the great Joel Gray.
Rendezvous With Marlene, Electric Theatre Guildford and Touring
Ute Lemper was simply mesmerising when bringing over her Rendezvous With Marlene for a short British tour. The little Electric Theatre in Guildford can never have hosted a more famous star. The two-hour cabaret was based on a lengthy phone conversation with Dietrich when a youthful Lemper was working in Paris – the legendary Marlene lived there in her later years. Unforgettable.
Paul Vale
Once, Ashcroft Theatre Croydon and Touring
Before the world descended into pandemic madness, this glorious but short-lived tour reminded us all how musicals don’’t have to be high-concept to win our hearts.
Picture: Pamela Raith Photography
Cabaret Whore, Online
In lockdown an indefatigable Sarah Louise-Young turned her hand most successfully to online cabaret, featuring the ever reliable, uber-talented Michael Roulston.
Pippin, Eagle Theatre London
A new outdoor venue and the first to open in London in August, this production from Steven Dexter was a breath of fresh air. Simply staged with a small cast it won the hearts of audiences and critics alike.
The Last Five Years, Southwark Playhouse
This revival had already wowed audiences before closing in March. Its resurrection post-lockdown gave us all a chance to see Oli Higginson and Molly Lynch in this superlative production.
First Dates, Crazy Coqs Online
Surprisingly fresh and funny online musical adaptation staged in the Crazy Coqs. Samantha Barks and Simon Lipkin were the loveable leads, almost upstaged by a hilarious turn from Oscar Conlon-Morrey.
Craig Glenday
A Little Night Music, Opera Holland Park
Alex Parker (MD) and Alastair Knights (director) offered up a one-off afternoon treat during lockdown by staging a concert version of Sondheim’s triple-time musical. As a dedicated Sondheimite, I had to be there and… wow! Because it ended my theatre drought, it was like the most beautiful thing I’d ever seen. I’ll never forget the sight of Janie Dee in a glamorous red dress being thoroughly drenched – and I mean, saturated, soaked to the bone – during ‘Send in the Clowns’.
Picture: Mark Senior
Jesus Christ Superstar, Open Air Theatre Regent’s Park
The weather held off just long enough for a very spaced-out audience to catch once again Timothy Sheader’s thrilling JC Superstar, this time in a semi-staged concert version. Inventive direction and relentlessly jaw-dropped choreo from Drew McOnie made this re-conceived non-contact version every bit as dynamic as the original staging. I honestly welled-up as the chorus slipped off their masks for the heralding of Christ in the opening number. I’ve just got goosebumps as I type!
Another Vodka Stinger, Oscar Conlon-Morrey, Online
No matter what’s ailing you, you’ll find an evening with this musical theatre and comic star an invigorating tonic. His social media presence has been cheering us all up through this ghastly year, and his Sondheim-infused cabaret night, beamed straight from his living room with musical assistance from the ever-reliable Jason Carr, was a much needed sparkle of light after three months of darkness.
The Last Five Years, Southwark Playhouse
Thanks to Southwark’s innovative use of perspex screens throughout the audience, we could at last enjoy the closest thing to the intense intimacy of local theatre again. And what better a choice for social distancing than Jason Robert Brown’s two-hander, expertly realised by the excellent Molly Lynch and Oli Higginson.
Sunday in the Park with Daniel, Chichester Festival Theatre and Online
A feast of Sondheim – yes, Sondheim again! – with a top-class cast of Jenna Russell, Hannah Waddingham, Clive Rowe and Gabrielle Brooks. Ostensibly a 90th-birthday concert, this lovely line-up revisited their favourite roles and songs or challenged themselves with some of Sondheim lesser-known numbers. A treat – and live! – though the evening performance was also streamed.
Ian Bowkett
Ghost Quartet, Boulevard Theatre and Online
Director Bill Buckhurst’s spooky but sublime production of Ghost Quartet at Soho’s gorgeous new Boulevard Theatre closed on 4 January 2020. By that point I had already attended five times, but such was the richness of the piece, I felt there were still further subtleties to enjoy. Composer Dave Malloy released a recording of the original New York production onto YouTube during the first lockdown and I have watched this repeatedly too. To this day I don’t think I fully understand the show, but it might have become my favourite musical.
Picture: Danny Kaan
A Little Night Music, Opera Holland Park
Nothing was going to stop this summer’s Opera Holland Park production of Stephen Sondheim’s A Little Night Music being amazing. After months of theatre-less lockdown we needed some beauty in our lives, and director Alastair Knights, MD Alex Parker, co-producer/star Janie Dee and the rest of the brilliant cast were not going to let a global pandemic or even a torrential rainstorm stand in their way. This may not have been the grandest production ever staged, but it was an inspiring demonstration of the tenacity of theatre.
Rags, Park Theatre
Aria Entertainment’s Rags at Park Theatre was one of the last shows I saw before the lockdown started. It was the perfect temporary farewell to live theatre. The musical arrangements were luscious, and the story lent itself well to the relatively small space. It might be a long time before intimate theatrical performances become viable again, so I will treasure my memories of this gorgeous production all the more.
Romantics Anonymous, Bristol Old Vic and Online
This was a defining year for streamed theatre. Probably my favourite new piece of theatre I watched at home this year was Emma Rice’s Romantics Anonymous, which was streamed live from the Bristol Old Vic. Beyond being a brilliantly compelling show starring the incredible Carly Bawden from the Boulevard’s Ghost Quartet, this was a stunning demonstration of what can be achieved with streaming technology. It gave us hope for what more we might see from the comfort of our sofas in the uncertain future.
The Pirates of Penzance, Palace Theatre
By the time this cold, dark winter rolled around, we were in dire need of something to lift our spirits. Sasha Regan’s all-male production of The Pirates of Penzance is a hilarious interpretation of Gilbert and Sullivan’s classic light opera. It will be streamed online from 28 December 2020 to 3 January 2021 and anybody in need of a bit of farcical fun to ensure 2021 starts much better than 2020 ended should give it a go.
Julie Watterston
Camelot – Watermill Theatre, Bagnor
My first Covid socially distanced outdoor show, such a delight in the summer to be watching an outside production!
Picture: Pamela Raith Photography
A Christmas Carol – Watermill Theatre, Bagnor
Intuitively done as a two-hander, probably the best version of A Christmas Carol I’ve ever seen.
Hair, Turbine Theatre on the Jetty
Giving out the complete feel-good factor in this concert version of Hair the Musical.
Everybody’s Talking About Jamie, Apollo Theatre
First night reopening of this incredible show before it got shut down again less than a week later, wittily re-written to reflect Covid regulations in schools.
Jane Eyre, National Theatre Online
Beautifully constructed and sensitive piece of theatre.
Editor’s honourable mentions
Songs For A New World – Palladium Theatre
A major highlight of the year, a West End transfer for Lambert Jackson’s online production of Jason Robert Brown’s ever relevant song cycle featuring stunning performances (David Hunter, Rachel John, Cedric Neal, Rachel Tucker and Shem Omari James). The atmosphere was electric.
Romantics Anonymous – Bristol Old Vic and Online
So delighted to have an opportunity to see this charming show which our reviewer Scott Matthewman had always championed – and he was quite right too. I listen to the track ‘If She Loved Me’ on repeat.
Flowers For Mrs Harris – Chichester Festival Theatre Online
I had no idea of the emotional impact of this show until the final stages when I felt quite overwhelmed by its beauty. A real tonic during lockdown.
The Last Five Years – Southwark Playhouse
Nearly didn’t get to see this due to yet another change of restrictions but thanks to a mask, perspex screen and the innovative Southwark Playhouse I was able to witness the compelling and original storytelling and the bravura performances of Molly Lynch and Oli Higginson.
Rent – Hope Mill Theatre Manchester Online
This production opened and closed in a matter of days, I can’t imagine the emotions running through the cast when this recording was made. The energy was incredible, even via my laptop, and Jonathan Larson’s masterpiece felt more topical than ever.
Marry Me A Little – Barn Theatre Cirencester
Sondheim, an intense story of relationships brilliantly told and featuring two actors at the top of their game, Rob Houchen and Celinde Schoenmaker. Who could ask for anything more? Congratulations to the Barn for all the venue achieved this year.
Pippin – Eagle Theatre, London
My first show after months of no theatre, hard not to blub at the joy of live performance once again. Amazingly, a theatre and production born during lockdown. I loved every minute.
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