Rioter’s Pick: Best of 2017

It’s the most wonderful time of the year, and by that I mean the time that everyone starts cranking out their end of year lists. Yes, I know it’s only the 12th and I know I’m seeing Hamilton on the 30th (have I mentioned today that I am seeing Hamilton), but real talk this will probably be the only spare time this cursed festive month that I get to write this. So let’s take it as read that Hamilton’s going to be decent and move on.

Despite 2017 being a frankly abysmal year professionally (and at times, personally), it’s been bloody marvellous for theatre. Hot damn, we have been spoilt. As such, I’d like to talk about my top ten productions of the year. I’ve been keeping a more detailed record recently of the staff I’ve been seeing, and if anything it’s taught me that next year I seriously need to see less in London and give the regions another chance.

I’d like to make it clear that the only order this list is in is chronological. It’s very tough to pick a favourite production this year, simply because a lot of the stuff I ended up seeing was so wildly different – a serious case of apples and oranges. I’d also like to add this is a PERSONAL list based on PERSONAL responses to work and if you disagree, then write your own sodding lists.

Actually, please do that, I really enjoy reading other people’s end of year lists.

LISTS!

Love’s Labours Lost/Much Ado About Nothing – RSC/Theatre Royal Haymarket

I kicked off my theatre-going year in typical Shakespeare fangirl style with this completely charming double bill of Shakespearean comedies set before and after WW1 Lush, romantic, stunningly scored and wonderfully cast (Edward Bennett was a highlight in the dual roles of Berowne and Benedick), I could have happily watched both a hundred times. The songs were completely fab and THEY’RE ON SPOTIFY, so thank you RSC.

Murder for Two – The Watermill

A two person murder mystery musical with thirteen different characters and one piano. It shouldn’t have worked, but it did brilliantly, with Jeremy Legat being absolutely magnificent playing 12 different roles in the space of seconds. The whole thing was a high energy marvel of timing and skill and hilariously over the top to boot.

The Pitchfork Disney – Shoreditch Town Hall

The underrated gem of the year. Philip Ridley’s dreamlike stage debut was revived in the claustrophobic basement space of Shoreditch Town Hall. Jamie Lloyd’s confrontational and uncompromising direction, combined with the small space, placed the audience closer than comfort into the strange, violent world of Cosmo Disney, played with a revelatory performance from Tom Rhys Harries. This was my first experience seeing a Ridley, and it’s probably ruined everything for future productions it was that good.

Hamlet – Almeida Theatre

Come on, this was always going to be ridiculously good, wasn’t it. Andrew Scott giving the absolute performance of his life, Juliet Stevenson being brilliant at usual, Hildegard Bechtler’s design updating Elsinore to the setting of a Scandinavian noir thriller. This was raved about across the board, and rightly so. Scott’s portrayal should rightly go down as one of the best. What happened to that filmed version, BBC?

Romeo and Juliet – The Globe

The great divider. People either loved or loathed this weird and wonderful production, and I loved it. Daniel Kramer’s take on the great romance was brutal, vicious and totally surreal, offering a brand new take on this arguably overdone play. Edward Hogg and Kirsty Bushell as the titular lovers were extraordinary and the whole thing was a highly satisfying two fingers up at the Globe elitists.

The Wind in the Willows – The Palladium

An odd choice for this list maybe, and one that I will fight other critics on, who gave this new British musical an unfairly lukewarm reception. Personally I thought it was a joy, completely devoid of cynicism and Rufus Hound a perfect Mr Toad. Months later I still get the villain songs occasionally stuck in my head.

Nassim – Bush Theatre

I bloody love the Bush Theatre. I think it has one of the best general theatre atmospheres in London, and their programme is nothing short of brilliant. And they have theatre cats, which, bonus. So all in all, making the trek up there is always worth it for me. In this particular case, the lure of the great Denise Gough live on stage (bloody love Denise Gough) drew me northwards for the heartbreakingly wonderful Nassim.

Kabeiroi – Punchdrunk

In the year of many ballots, I only won one. But bloody hell, what a ballot to win.  Punchdrunk’s newest was a six hour adventure across the capital with puzzles, chases, secret messages and the need to rely on your wits. A mind-blowing finale had my otherwise exhausted self buzzing with adrenaline for hours. Kabeiroi unquestionably take the title for the most terrifying thing I’ve done all year.

Ink – Duke of York’s

Bless my soul, James Graham’s on a roll. A theatrical punch in the face that covers the early days of The Sun and the men behind it. Bertie Carvel once again produced a tremendous performance as Rupert Murdoch, but it was Richard Coyle as Larry Lamb who really commanded this production.

A Christmas Carol – The Old Vic

A latecomer to the list, but by no means the least. Jack Thorne’s adaptation focused on what exactly makes a miser, whilst director Matthew Warchus ensured that the play kept all the warmth and good cheer of the season. Golda Rosheuvel, last seen as a fantastic Mercutio in the Globe’s R&J, returned to the London stage as a delightful Ghost of Christmas Present, and Rhys Ifans gave his all as a winning Scrooge. Music and lighting gave this production a cinematic edge that left the audience feeling thoroughly festive.

Honourable mentions:

• Glengarry Glen Ross at The Playhouse
• Angels in America at The National Theatre/NTLive
• The Seagull at Lyric Hammersmith
• The Colour Purple in Concert at Cadogan Hall