My Top Ten Shows of 2019
For reasons associated with the “Day Job”, I was only able to get to 69 shows this year for London Theatre 1 and the Offies.
However, it has still been a pretty good year for me theatrically, with 24 productions receiving 5 stars. This either means I am getting softer in my old age, or there are some pretty impressive shows out there. Let’s delve into the top 10 of these and see what we think.
No 10 - Operation Black Antler at the Southbank Centre
This is the first of two immersive theatre shows in the top 10, and was a real surprise. To quote the blurb I received - “In Operation Black Antler you are given a new identity as part of a small team; you are briefed and then sent into an undercover operation. You must meet, build empathy with and ultimately try to win the trust of someone whose political and moral views may be the polar opposite of our own. What will you do when the power is in your hands?” - and they weren’t kidding. Like most immersive theatre, you get out of it what you put in and I this one had me thinking and facing a scenario that was so against everything the real Terry believes in, and yet it was easy to fall into the extremely well crafted world the team had created, that by the end I wanted to go home and have a shower to clean myself up.
No 9 - King Charles III at The Tower Theatre
First show of 2019 and what a corker. I had seen the play of TV but it was nothing compared to the real thing. The story follows the monarchy as Charles takes over from his mother and finally ascends the throne.
Unfortunately - and without giving too much away - he isn’t very good at the role of King, and it falls to his sons and daughter-in-law (this was pre- Meghan) to save the country. Some wonderful speeches and a positively Shakespearean tone make this a really thought provoking play.
No 8 - Vulvarine at the King’s Head Theatre
One to redress the imbalance of female superheroes this. I described it in my review as bonkers and fun, and it certainly was that. A clerk from High Wycombe becomes a super hero fighting crime and righting wrongs in this show that, whilst only being around 70 minutes long, really fills those minutes with great music and entertainment. This is a feminist musical but without going down the ‘all men are b*stards’ route. Even the worst of the men, were enjoyable to watch and I happily laughed at their ineptitude and stupidity along with everyone else
No 7 - Awkward Conversations With Animals I’ve F*cked at the King’s Head Theatre
This was my second time seeing this particular show and since I had seen it the first time, I had met and interviewed the cast - Linus Karp - and read the playtext a few times. For me, the play about Bobby, a sad lonely man who finds ‘love’ with animals instead of humans, still worked and Linus’ portrayal of Bobby, was still both funny and poignant.
The main reason it's made the list is because of the discussion it caused between my companion Michael and myself afterwards. Both of us had completely different opinions on Bobby and his actions. The fact that we ended up agreeing to disagree was, for me, the hallmark of great writing and acting
No 6 - Ghost Stories at the Ambassadors Theatre
I do have a tendency to emotionally connect with plays way too much. I am often moved to tears - either of joy or sadness - and quite often spend way too long thinking over what happened next. However, not many shows leave me terrified. I love stage magic and usually try to work out how something was accomplished on the stage. But, Ghost Stories, was different.
Fear permeated through the theatre as we walked into the auditorium, decorated with numbers on the side walls, and industrial lamps as house lights. It all started out very innocently, and then built into something quite terrifying as we went through the various stories to an ending that was both disturbing and totally unexpected. Funnily enough, I don’t think this would work as a movie or on TV. It needs the feedback of a live audience to add to the atmosphere and keep the sense of horror growing.
No 5 - Hello Dolly by Blackburn Musical Theatre Company
It's off Up North we go for this amateur production of a well known musical. This took me completely by surprise in not only the quality of the show but the sheer professionalism of everybody involved.
I know Imelda Staunton is wowing them in London as Dolly Levi, but if she is feeling off one day, then I can happily recommend Sue Chadwick as an understudy. This was as fine an example of perfect casting as I’ve seen in a long, long time and Sue really shone as the interfering Dolly. But it wasn’t just her, the entire case really gave their all delivered a truly first rate production.
No 4 - Jesus Christ Superstar at the Barbican Theatre
For a show not far off it's 50th Birthday, JC Superstar is still a crowd pleaser and works as well in the twenty-first century as it did back in 1970. This production transferred from the Regents Park Open Air Theatre and only had a limited run at the Barbican, so I was only able to see it once. I really wanted to go again as there was so much happening that you really needed a second trip to take it all in.
The production was superb, especially in simple things like using glitter in ways never thought of before. For example, Judas’ hands after he agreed to betray Jesus and the whipping scene. Matt Cardle as was a welcome addition as Pilte and Robert Tripolin was simply sublime as Jesus. A truly fantastic production.
No 3 - Crisis? What Crisis? at The Colab Factory
2nd immersive experience in the list, and what a little belter this was. Set in 1979 before a crucial vote to determine if Jim Callaghan’s Labour government was going to survive or the country be cast into an unwelcome and unwanted election - sound familiar?
The show really did involve everyone in formalising and implementing a strategy to save the government. I was heavily involved in finding and exploiting political weaknesses amongst MPs as well as a little bribery and blackmail when necessary. What I loved about the production was the amount of detail everywhere. Everything was right. The costumes, the furniture, They even had a teletext TV sitting there with the news scrolling through.
I can only sum this show up by quoting the final part of my review - “I’ve done quite a bit of immersive theatre in my time, but I have to say that Crisis? What Crisis? is now the yardstick against which any future shows will be measured.”
No 2 - Once On This Island at Southwark Playhouse
While the rest of the reviewing world charged up to Edinburgh, I stayed in London, which was lucky as I got to see this wonderful production by the British Theatre Academy. A story of Gods and mortals, racism, love and duty, Once on this Island is, in itself, pretty impressive. With a running time and a score of twenty songs, the story of Daniel andTi Moune is beautifully told and, with this highly talented young cast, brought to life in superb style.
It's not often you get a cast where everyone is considered the proverbial ‘triple threat’ but this cast, sang, danced and acted as if they had been born to it. I honestly cannot praise this company and this show highly enough and the entire thing left me with a really good feeling about the future of theatre.
No 1 - Bleach presented by Dan Ireland-Reeves at the Vault Festival
This was definitely the highlight of the year for me and it was something I initially thought about turning down. The press release said “When a misguided rent boy finds himself taking the starring role in a snuff film, he’s forced to question whether living in London is really worth the cost of rent.” and my immediate thought was that this wasn’t going to be a barrel of laughs. However, the Vault Festival rarely disappoints so away I went, and I’m so glad I did.
Dan Ireland-Reeves, who also performed the show, presents Tyler, a young gay man who has moved to London and wound up as a professional rent boy (prostitute). He is doing well at the work, as he is young, attractive and meticulously organised to ensure his clients wants are satisfied. Then, one night, a very wealthy client has Tyler round and instead of a normal session, it turns into the boy actively participating in a snuff movie. We follow Tyler through every step of the experience and it's aftermath, seeing how it affects every aspect of his life.
Dan’s writing is frank, honest and compelling. I don’t want to give anything away but in the final scene, I found myself totally fixated on Tyler in a way that left me feeling voyeuristic and ashamed. The next day, I downloaded the playtext and started reading it, then had to stop as I found the same feelings starting to overcome me again. It's not often something affects me like that and I was really impressed that this show had.
One other major thing about Bleach which didn’t strike me until later, was the ending which entirely depended on the person seeing the show. At the time of seeing the performance, I saw Tyler’s story ending a certain way, but then, having read it, I saw a completely different ending to the tale. Speaking with the author, he agreed that is could be interpreted different ways and Tyler really depended on the director, actor and viewer to finish his tale.
So, there you have it. A reduced number of shows seen but still some absolute corkers in there. Bring on 2020.
However, it has still been a pretty good year for me theatrically, with 24 productions receiving 5 stars. This either means I am getting softer in my old age, or there are some pretty impressive shows out there. Let’s delve into the top 10 of these and see what we think.
No 10 - Operation Black Antler at the Southbank Centre
This is the first of two immersive theatre shows in the top 10, and was a real surprise. To quote the blurb I received - “In Operation Black Antler you are given a new identity as part of a small team; you are briefed and then sent into an undercover operation. You must meet, build empathy with and ultimately try to win the trust of someone whose political and moral views may be the polar opposite of our own. What will you do when the power is in your hands?” - and they weren’t kidding. Like most immersive theatre, you get out of it what you put in and I this one had me thinking and facing a scenario that was so against everything the real Terry believes in, and yet it was easy to fall into the extremely well crafted world the team had created, that by the end I wanted to go home and have a shower to clean myself up.No 9 - King Charles III at The Tower Theatre
First show of 2019 and what a corker. I had seen the play of TV but it was nothing compared to the real thing. The story follows the monarchy as Charles takes over from his mother and finally ascends the throne. Unfortunately - and without giving too much away - he isn’t very good at the role of King, and it falls to his sons and daughter-in-law (this was pre- Meghan) to save the country. Some wonderful speeches and a positively Shakespearean tone make this a really thought provoking play.
No 8 - Vulvarine at the King’s Head Theatre
One to redress the imbalance of female superheroes this. I described it in my review as bonkers and fun, and it certainly was that. A clerk from High Wycombe becomes a super hero fighting crime and righting wrongs in this show that, whilst only being around 70 minutes long, really fills those minutes with great music and entertainment. This is a feminist musical but without going down the ‘all men are b*stards’ route. Even the worst of the men, were enjoyable to watch and I happily laughed at their ineptitude and stupidity along with everyone elseNo 7 - Awkward Conversations With Animals I’ve F*cked at the King’s Head Theatre
This was my second time seeing this particular show and since I had seen it the first time, I had met and interviewed the cast - Linus Karp - and read the playtext a few times. For me, the play about Bobby, a sad lonely man who finds ‘love’ with animals instead of humans, still worked and Linus’ portrayal of Bobby, was still both funny and poignant. The main reason it's made the list is because of the discussion it caused between my companion Michael and myself afterwards. Both of us had completely different opinions on Bobby and his actions. The fact that we ended up agreeing to disagree was, for me, the hallmark of great writing and acting
No 6 - Ghost Stories at the Ambassadors Theatre
I do have a tendency to emotionally connect with plays way too much. I am often moved to tears - either of joy or sadness - and quite often spend way too long thinking over what happened next. However, not many shows leave me terrified. I love stage magic and usually try to work out how something was accomplished on the stage. But, Ghost Stories, was different. Fear permeated through the theatre as we walked into the auditorium, decorated with numbers on the side walls, and industrial lamps as house lights. It all started out very innocently, and then built into something quite terrifying as we went through the various stories to an ending that was both disturbing and totally unexpected. Funnily enough, I don’t think this would work as a movie or on TV. It needs the feedback of a live audience to add to the atmosphere and keep the sense of horror growing.
No 5 - Hello Dolly by Blackburn Musical Theatre Company
I know Imelda Staunton is wowing them in London as Dolly Levi, but if she is feeling off one day, then I can happily recommend Sue Chadwick as an understudy. This was as fine an example of perfect casting as I’ve seen in a long, long time and Sue really shone as the interfering Dolly. But it wasn’t just her, the entire case really gave their all delivered a truly first rate production.
No 4 - Jesus Christ Superstar at the Barbican Theatre
For a show not far off it's 50th Birthday, JC Superstar is still a crowd pleaser and works as well in the twenty-first century as it did back in 1970. This production transferred from the Regents Park Open Air Theatre and only had a limited run at the Barbican, so I was only able to see it once. I really wanted to go again as there was so much happening that you really needed a second trip to take it all in. The production was superb, especially in simple things like using glitter in ways never thought of before. For example, Judas’ hands after he agreed to betray Jesus and the whipping scene. Matt Cardle as was a welcome addition as Pilte and Robert Tripolin was simply sublime as Jesus. A truly fantastic production.
No 3 - Crisis? What Crisis? at The Colab Factory
2nd immersive experience in the list, and what a little belter this was. Set in 1979 before a crucial vote to determine if Jim Callaghan’s Labour government was going to survive or the country be cast into an unwelcome and unwanted election - sound familiar? The show really did involve everyone in formalising and implementing a strategy to save the government. I was heavily involved in finding and exploiting political weaknesses amongst MPs as well as a little bribery and blackmail when necessary. What I loved about the production was the amount of detail everywhere. Everything was right. The costumes, the furniture, They even had a teletext TV sitting there with the news scrolling through.
I can only sum this show up by quoting the final part of my review - “I’ve done quite a bit of immersive theatre in my time, but I have to say that Crisis? What Crisis? is now the yardstick against which any future shows will be measured.”
No 2 - Once On This Island at Southwark Playhouse
While the rest of the reviewing world charged up to Edinburgh, I stayed in London, which was lucky as I got to see this wonderful production by the British Theatre Academy. A story of Gods and mortals, racism, love and duty, Once on this Island is, in itself, pretty impressive. With a running time and a score of twenty songs, the story of Daniel andTi Moune is beautifully told and, with this highly talented young cast, brought to life in superb style. It's not often you get a cast where everyone is considered the proverbial ‘triple threat’ but this cast, sang, danced and acted as if they had been born to it. I honestly cannot praise this company and this show highly enough and the entire thing left me with a really good feeling about the future of theatre.
No 1 - Bleach presented by Dan Ireland-Reeves at the Vault Festival
This was definitely the highlight of the year for me and it was something I initially thought about turning down. The press release said “When a misguided rent boy finds himself taking the starring role in a snuff film, he’s forced to question whether living in London is really worth the cost of rent.” and my immediate thought was that this wasn’t going to be a barrel of laughs. However, the Vault Festival rarely disappoints so away I went, and I’m so glad I did.
Dan Ireland-Reeves, who also performed the show, presents Tyler, a young gay man who has moved to London and wound up as a professional rent boy (prostitute). He is doing well at the work, as he is young, attractive and meticulously organised to ensure his clients wants are satisfied. Then, one night, a very wealthy client has Tyler round and instead of a normal session, it turns into the boy actively participating in a snuff movie. We follow Tyler through every step of the experience and it's aftermath, seeing how it affects every aspect of his life.
Dan’s writing is frank, honest and compelling. I don’t want to give anything away but in the final scene, I found myself totally fixated on Tyler in a way that left me feeling voyeuristic and ashamed. The next day, I downloaded the playtext and started reading it, then had to stop as I found the same feelings starting to overcome me again. It's not often something affects me like that and I was really impressed that this show had. One other major thing about Bleach which didn’t strike me until later, was the ending which entirely depended on the person seeing the show. At the time of seeing the performance, I saw Tyler’s story ending a certain way, but then, having read it, I saw a completely different ending to the tale. Speaking with the author, he agreed that is could be interpreted different ways and Tyler really depended on the director, actor and viewer to finish his tale.
So, there you have it. A reduced number of shows seen but still some absolute corkers in there. Bring on 2020.
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