As distinct from my favourite shows of the year, this list celebrates the fact that sometimes the good and the not-so-good co-exist right next to each – some of my favourite moments.
For reference, here’s my 2020 list, 2019 list, 2018 list, 2017 list, 2016 list, 2015 list and 2014 list.
Helen McCrory, in memoriam
I still don’t really have the words to talk about how sad the passing of Helen McCrory is, such a favourite actor of mine for so long. But what was joyful was hearing the absolute esteem in which seemingly every one of her colleagues held her, a testament to the person as well as the performer.
Being scared, by women
After having declared that scary theatre just didn’t work for me, the Terrifying Women made me eat my words in quite some style with their Halloween special. Continue reading “10 top theatrical moments of 2021”
Productions like this are precisely why Agatha Christie has endured so long. Witness for the Prosecution is an absolute marvel in the atmospheric surroundings of County Hall
“How could he possibly commit such a brutal murder. He’s such a dish”
Most of what I know about justice comes from Bananarama (guilty as a girl can be) so I’ve yet to be called up for jury service. But Witness for the Prosecution acts as a fine stand-in, especially with this production which makes inspired use of the disused Council Chamber in London’s County Hall. The show opened back in 2017 but it has taken me this long to getting around to see it – more fool me, as it is pretty darn fantastic.
I suppose I was guilty of thinking of the slightly stale Mousetrap side of Agatha Christie, the one of which it is hard to get particularly excited, rather than the Sarah Phelps–inspired revivals which have relocated and reignited the sheer quality of Christie’s writing. Lucy Bailey’s interpretation of the 1953 play rightfully plays it with an extremely straight bat, reminding us just what a unparalleled master she was at this game of crime writing. Continue reading “Review: Witness for the Prosecution, County Hall”
“Me with music and you the words“
Menier Chocolate Factory Christmas musicals have a habit of making the leap into the West End and given the rapturous reception that Sondheim’s Merrily We Roll Along received last year, it was no surprise to hear that it would make the well-deserved transfer into the Harold Pinter Theatre for a 12 week engagement. My original review of the show can be read here and perhaps not unexpectedly, very little has changed of my feelings about this rather magnificent production. But more surprising was how little I felt it had changed in the considerably larger space of this new theatre.
It’s a good six months since I saw it so perhaps my memory isn’t too reliable but it really does feel very similar indeed, Soutra Gilmour’s design slots into the theatre in a similar fashion and the staging – although expanded to fill the space – moves around it in the same way. Not that this is a bad thing, but rather that I’m not exactly sure about how it might play from further back or up in the theatre than you’d ever be in the Menier. Where the lack of discernible difference is a definite boon though is in the performance level. Continue reading “Re-review: Merrily We Roll Along, Harold Pinter Theatre”