Best of Enemies
Noël Coward Theatre, London
Two winter openings for James Graham’s terrific play: one in 2021 at the Young Vic and a West End transfer this year that was, if anything, even better. This astute analysis of a divided America and a polarised public discourse has proved to be one of Graham’s finest plays to date. It focuses on the barbed late-night TV debates in 1968 between the maverick liberal author Gore Vidal and the arch-conservative commentator William F Buckley Jr, which catapulted the struggling ABC network up the ratings chart. For Graham, that moment encapsulated a battle between the forces of conservatism and those of change that continues today. Rivetingly directed by Jeremy Herrin, the drama remains a scintillating exploration of the toxic relationship between politics and popular culture in the modern world. (Playing until February 18.)
Good
Harold Pinter Theatre, London
With Rebecca Frecknall’s sensational Cabaret still running at the London Playhouse Theatre, up stepped a very different show examining the insidious creep of fascism. CP Taylor’s play presents us with Halder, a decent, liberal-minded literature professor in 1930s Germany, who finds himself sucked, little by little, into horrific Nazi ideology. More terrifying in some ways than an openly brutal play, it examines how easy it is to convince yourself that what you are doing is OK. Dominic Cooke’s deftly paced production pulls you into Halder’s mind and memory and features a mesmerising performance from David Tennant: witty, humane, chillingly self-deceptive. A salutary warning about complacency and seeing only what you want to see. (Playing until January 7.)
My Neighbour Totoro
Barbican Theatre, London
If you’re going to adapt a film for stage, this is the way to do it. The Royal Shakespeare Company approached Studio Ghibli’s beloved 1988 animated movie with both reverence and mischief, translating its gentle, caring story into stage language and revelling in the liveness. Phelim McDermott, directing, made brilliant use of puppetry to tell the story of two little girls moving to 1950s rural Japan to be nearer their sick mother, with puppets both large and small depicting the spirits that take care of the children. A tender, beautiful family show extolling kindness and leaning into the film’s central idea of a world as seen through a child’s eyes. (Playing until January 21.)
Oklahoma!
Young Vic, London
No bright golden haze and no meadow in this Oklahoma! — Daniel Fish’s stunning rethink of the Rodgers and Hammerstein classic unfolds in what feels like a local community hall. Slow-cookers and packs of Bud on the trestle tables; a bluegrass band tuning up; glittery bunting . . . but also a lot of guns on every wall. Fish’s staging — beautifully delivered by the cast — reminded us that the story is set in 1906, in a frontier town in Indian territory on the verge of statehood, and the director balances celebration of this beloved musical with exploration of more sinister truths. (Transfers to Wyndham’s Theatre in the West End from February 2023.)
Crazy for You
Chichester Festival Theatre
Chichester Festival Theatre has turned itself into something of a musical hit factory in recent years, and Crazy for You was this summer’s treat. Telling the not-entirely-plausible tale of young Bobby Child, a banker and would-be dancer, who saves a condemned theatre in Nevada mid-Depression, it played post-lockdown as an uplifting celebration of the transformative power of live theatre. Powered by Charlie Stemp’s dazzling lead performance and Susan Stroman’s mischievous direction and choreography, this irresistible show sent you out walking on air. It transfers to London’s Gillian Lynne Theatre in June 2023.
Blues for an Alabama Sky
National Theatre, London
Director Lynette Linton is expert at creating worlds onstage (one example being her wonderful production of Lynn Nottage’s Sweat). She excelled with this bittersweet 1995 play from Pearl Cleage, set in 1930s Harlem as the Depression hit the Harlem Renaissance. Focusing on a handful of black characters living in one brownstone, it examines how hard it is to hold fast to dreams when your life is circumscribed by poverty, race and gender. In Linton’s staging, vivid, beautifully drawn performances pulled the audience into the characters’ world, while the creative team brought a dreamy edge to the show by threading a musical arrangement of Langston Hughes’ “Dreams” through the action. Gorgeous.
Jerusalem
Apollo Theatre, London
A decade on from its debut, Jez Butterworth’s magnificent drama about a roistering outlaw living on the edge of society felt even more timely on its return. Both Mark Rylance and Mackenzie Crook, reprising their original roles but now 10 years older, brought a new poignancy and pathos to their characters. Ian Rickson’s exhilarating production played out this time in a country ragged with argument and disputation and wary of mythmakers bearing tales of greatness. And what a joy to see Rylance, one of the greatest actors of his generation, deliver a performance of such mercurial brilliance. He’s promised to return to the role every decade, so long as he can. Magical, mysterious theatre.
Much Ado About Nothing
Shakespeare’s Globe, London
It was a year of Much Ado on the UK stage and, for me, this one took the honours. Lucy Bailey’s bittersweet staging moved the action from Sicily to northern Italy at the end of the second world war and to a country still scarred by both conflict and dictatorship. Here the returning soldiers forged through the standing audience singing partisan anthem “Bella Ciao” and, with a simple switch of Leonato to Leonata, Bailey made more pointed the encounter between this band of brothers and an all-female household. It was a setting that made sense of the wariness and misogyny in the play but that also released the comedy — these were people longing to have a good time. A garden design, lovely performances, great interaction with the audience, a delicate balance between sweet and sour — the Globe enjoyed a summer hit.
Red Pitch
Bush Theatre, London
Tyrell Williams’s play won this year’s George Devine award for new writing — and deservedly so. This was a joyous, poignant writing debut from Williams about three black British teenagers at a pinch-point in their lives. With one foot in childhood and the other in adulthood, and with their housing estate set for regeneration, the three know that their lives are about to change forever — but they channel their hopes, fears and worries through football on their local caged pitch. Featuring three sizzling performances and a dynamic production from Daniel Bailey, this was a vibrant and touching exploration of young male friendship.
Rock/Paper/Scissors
Sheffield Theatres
It needed something special to celebrate the 50th birthday of the Sheffield Crucible and this was that something. Sheffield-born playwright Chris Bush conceived the ingenious — and quite terrifying — plan of three interrelated plays running simultaneously on all three stages on the Sheffield theatre complex, with the cast running between them to make their entrances. The story of a former scissors factory explored the way city centres are changing and questioned how we should move forward, with each play offering a different solution. Taken as a whole, the trilogy argued for empathy and understanding, and the results proved a triumph for live theatre.
