Sunset Boulevard Curve, Leicester I don’t think I’ve ever seen anything quite like it – it was so captivating I saw it twice. Forced to switch to a streamed version, the theatre changed its entire approach, and instead had the doomed tragedy play out across the whole of the auditorium, including the seats and balconies where audiences should have sat, and with the cameras fully visible. With the melodramatic tale now seeming to take place among the paraphernalia of a movie lot and abandoned cinema, it was as though we were watching a ghost story play out. Add in the sweeping score and extraordinary cast – spine-tingling. Anna Anything Goes Barbican, London The antidote to everything. A toe-tapping, deliriously fun watch with a great, game cast and show-stopping tunes from the majestically wonderful Cole Porter. David Deacon Fisherman’s Friends: The Musical Hall for Cornwall, Truro Just the most joyous, uplifting, feel-good musical, packed full of wonderful, traditional sea shanties as well as original songs. The creative staging, lively cast and roving musicians entertained us from start to finish and we wanted to watch it all over again. Our much-loved theatre, newly opened after its spectacular renovation, looked so beautiful and made the evening extra special. There was a buzz, an excitement, a sense of relief and of pride. Anonymous Bloody Elle Royal Exchange, Manchester Growing up northern and gay, I saw very little representation of myself on TV and in the theatre – anything I did experience was never authentic. Everyone wants to feel seen and relate to stories and I had yet to be able to have that experience in a theatre, one of my favourite places to be. Lauryn Redding’s Bloody Elle has honestly changed my life. It is a one-woman show that tells an authentic story of what it is like to grow up queer in the north. It made me cry with tears of joy and sadness. Hannah Smith Manor National theatre, London Despite the criticism that has rained down on Manor, this was the show I enjoyed seeing. The play may not suit everyone’s taste, but it raises many important issues and makes a valid point: if we want to stand a chance at tackling problems as a society, we need to be able to talk to each other despite our differences. The play tries to cover perhaps too much ground in limited time. However, it is dynamic and the cast are energetic and engaging. It deserves to be taken seriously. Sonja Wolf The Addams Family Lyceum, Sheffield The book and music were pitch perfect, the cast superb. But what raised the performance we watched was a moment during Gomez’s speech about keeping secrets where the whole cast, including Gomez, were fighting a mass “corpse”. The audience were in stitches and the momentary breach of the fourth wall made the experience that much more communal. Anonymous The Wife of Willesden Kiln, London This was a fabulous production on so many levels: the joyous performances (especially Clare Perkins in the lead), the staging that made you really feel you were in a north London pub (though with 100 more whisky bottles to dust than in the average boozer) and a script that was an astonishing feat. Zadie Smith’s rhyming drama was fun and engaging but also thoughtful and soul-satisfying. I enjoyed every moment – my friend also adored the production but didn’t even notice it was in rhyme so clearly it worked as authentic speech, too. The Kiln gets better and better. Jennie Allen The Messenger Sherman theatre, Cardiff Seiriol Davies’ show was fantastic. It was part of a cabaret-style, pick-and-mix of new writing by both up-and-coming and established voices from Cardiff. I loved Davies’s work in How to Win Against History, which I saw for the third time in 2021. The Messenger was really fun and inventive, but also said something that resonated with me about queer lives being pushed to the side. I loved the music and the use of the space. The way the Sherman set up the space for these shows is great, like a circus tent with three mini stages. Seeing The Messenger made me feel like a kid seeing theatre for the first time again – as soon as it finished I wanted to see it again. I really hope that it’s developed into a full-length work. Rachel Dawson Talent Crucible, Sheffield I watched Victoria Wood’s play in the 80s when I was a teenager and thought it very funny and original but never got the tragedy which I certainly did this time round. I love that this play is written by a woman for women. Her writing is so distinctive and affecting, and I enjoyed the references to TV shows and brands from the time. Victoria Wood was a trailblazer and no one since comes close in my opinion. I loved her and miss her. Jo Regan Redcoat Live theatre, Newcastle Lewis Jobson’s solo show was a great tonic of laughter and energy as he danced, sang and spoke of his experiences as a holiday-village redcoat. Hilarious and thoroughly engaging, the show isn’t just about entertainment – it takes you through a very personal story of highs, lows and challenges. The show was a limited run and I hope it reaches new heights in 2022. Paul Wailes Patricia Gets Ready (for a Date With the Man That Used to Hit Her) Pleasance at EICC, Edinburgh I saw Martha Watson Allpress’s amazing play at the Edinburgh fringe. It was very well written and discussed a sensitive topic in an honest, thought-provoking and informative way. It was performed as a monologue and the audience was drawn into the inner turmoil of the character yet there were also some lighter moments. We found ourselves captivated and willing her to do the right thing. Anonymous 84 Charing Cross Road Bromley Little theatre, London This amateur theatre puts on several shows a year and has a committed group of players and technicians. 84 Charing Cross Road (adapted from the book by Helene Hanff) had two excellent leads who, because the play is mainly based on letters, have to react to what the other is saying without interacting with them. This subtle romance was beautifully portrayed. The director and cast created the atmosphere of a cosy evening in front of the fire, leaving the audience gently comforted and intensely satisfied. Jeremy Reynolds The Silver Superheroes Òran Mór, Glasgow Morna Young’s play was a delight. Funny, poignant at times and opportunely relevant against the backdrop of the climate conference in Glasgow at the time. A wake-up call that you are never too old to get involved in the world and that life is full of interest if you engage and care. Anonymous Blkdog Sadler’s Wells, London Mind-blowingly brilliant. Botis Seva’s combination of fluid group motifs with sharp, krump-inspired dynamics created one of the most choreographically compelling productions I’ve seen in a long time. The show also drew one of the youngest and most enthusiastic audiences I’ve witnessed at a dance work. Seva’s brilliantly dark and heavy atmosphere created a thick tension in the auditorium that was only broken by thunderous applause at the end. I’m very excited to see what future projects he will work on. It will stick with me for a long time. Eoin Ó Fíannachta My Son’s a Queer (But What Can You Do?) Turbine theatre, London A fantastic one-person show. Rob Madge wrote something personal and touching, but also relatable to anyone who grew up with a love of performance or feeling different. Combined with fantastic staging, catchy music and hilarious home videos, they put on the funniest and warmest tribute to family you could ever want. Anonymous The Dante Project Royal Opera House, London The most extraordinary dance and theatre experience I have ever seen – beautiful, profound and uplifting from the start to a glimpse of paradise at the end. Farewell performance of the amazing Edward Watson. Mary Wilson The Lost Happy Endings Festival theatre, Edinburgh I am obsessed with Ballet Lorent. Their performances are like being sucked into another realm. I hadn’t seen much live theatre for many years. I went on my own to see this show and it gave me so much hope and happiness. Anonymous