Critics' Choice: Cheryl Markosky's Best Shows of 2024

Grand dame Sian Phillips stealing the show, Adam Cooper giving an unexpected twirl and smaller theatre spaces punching above their weight. These are some of BroadwayWorld reviewer Cheryl Markosky's favourite theatre moments of 2024.

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Best barmy landlady

Jane Horrocks' bonkers expressions in her role as landlady of a drab, seaside boarding house in Theatre Royal Bath's revival of Harold Pinter's The Birthday Party were worth the price of admission alone. Staged in the diminutive Ustinov Studio that can do no wrong under the command of artistic director Deborah Warner, director Richard Jones offered a fresh take on the absurdist comedy.

Best show stealers

Sian Phillips, aged 90, showed the youngsters how it's done with great diction and projection in Summer, 1954, twin-bill of two Terence Rattigan one-act plays again at Theatre Royal Bath. She played an utterly invincible dowager in Table Number Seven, with the only disappointment she wasn't in the second play of the evening, The Browning Version.

Show stealing was also a thing for the incredible Imelda Staunton in Hello Dolly! at The London Palladium. When she walks down that long staircase and belts out the eponymous song, we were all in awe. Staunton's definitely achieved National Treasure status.

Best audience participation

I was overwhelmed by how closely the audience connected with Rakie Ayola playing an over-protective Nigerian mother in Faith Omole's excellent, new play My Father's Fable at the Bush Theatre, West London. Audience cries of "you can't say that" and "my mother did that once too" were quite magnificent.

Best out-of-the-blue dance move

The revival of A Chorus Line at Sadler's Wells Theatre was toe-tappingly terrific. But who would have thought we'd get to see Adam Cooper, in his leading role as the director Zach, do a surprising, solo dance? His turn was a singular sensation with every little step he took (with apologies to lyricist Ed Kleban).

Best one-person shows

There are two winners in this category. Firstly, Paul Higgins as an undying fan of fictional, Scottish post-punk band Memorial Device in This is Memorial Device. In this wry comedy written and directed by Graham Eatough, Higgins played several roles, including the weirdly eccentric band members, at London's Riverside Studios.

In addition, Victoria Yeates was very compelling in one-woman play, Wormholes, about domestic abuse and coercive control, staged at the Omnibus Theatre on London's Clapham Common. Writer Emily Jupp delivered a multi-layered script teasing out how a woman can end up trapped in a dire situation. I'm looking forward to more from both Jupp and Yeates.

Best Irish revivals

Mark Rylance was the star turn in Juno and the Paycock at the Gielgud Theatre in the West End. Rylance plays a ramshackle Jack Boyle, who'd rather drink than work, in Sean O'Casey's masterpiece, directed by Matthew Warchus. The production wasn't perfect – Rylance seemed to be acting in one play while the rest of the cast were in another – but Rylance is always worth watching.

The other noteworthy Irish moment for me was at Salisbury Playhouse where an updated version of the tragicomedy Stones in His Pockets by Marie Jones was staged. Director Matthew McElhinney added film clips, and enhanced sound and lighting to the brilliant two-hander about the shooting of a Hollywood film in rural Ireland. Gerard McCabe and Shaun Blaney were indefatigable in 15 different roles (yes, 15) such as a failed DVD shop manager, sultry starlet, old-timer extra and dispirited actor who failed to make it in America.

Best show about a map

A narrow category, you might say, but an important one. I loved this new play, The Truth About Harry Beck, by writer/director Harry Burden in new venue, The Cubic Theatre at the London Transport Museum in Covent Garden. This warm two-hander starred Simon Snashall as Harry Beck, the man who designed the iconic London Tube map, and Ashley Christmas as his long-suffering wife Nora. A gentle, but informative production celebrating the much-loved map (it was its 50th anniversary). It would be wonderful to see this play run permanently in the museum. Watch this space!

Best history play

Sean Linnen's 20th anniversary revival of Alan Bennett's The History Boys at Theatre Royal Bath (and then on tour) felt completely fresh for today's audiences. Snappy use of 1980s song and dance numbers from the boys, such as a rebellious rendition of Adam and the Ants 'Stand and Deliver,' kept up the pace. In my review, I said Lewis Cornay as Posner was one to watch. Terry Hinde as Timms and Archie Christoph-Allen as Dakin also stood out within a talented young cast.

Best show that always makes me cry

Maybe it's because I'm Canadian, or maybe it's because I'm a sucker for Acadian music and love the quirky island of Newfoundland. Whatever it is, I always laugh and then cry, and then cry some more when I see the musical Come From Away. It was the fourth time I'd seen it, this time touring at New Wimbledon Theatre. A heart-lifting story about planes re-routed to Gander on 9/11, with multi-skilled performers in various roles. And yes, I was sobbing at the end – again. My only regret was not buying more merch, like Come From Away socks and a tote bag at the theatre. Maybe next time. When I'll cry all over again.

Wishlist for 2025

* I wish smaller theatre spaces, which produced amazing work last year, carry on doing so in the New Year. I'm talking about the likes of Theatre Royal Bath's Ustinov Studio, the Bush Theatre, Omnibus Theatre and the Menier Chocolate Factory (I loved The Baker's Wife and The Cabinet Minister in this special little venue last year).

* I want regional theatres to survive and flourish. While some are in their heyday (Theatre Royal Bath looks forward to a rich 2025 season featuring Ralph Fiennes, for instance) others need a bit more oomph (Salisbury Playhouse, I'm looking at you). These are tough times for regional places and they need more support. Will the new Labour government and sponsors step up to the plate? Only time will tell.

* I wish audiences could be better behaved and more clued-up. Too many using phones, rustling crinkly sweet wrappers (that should be banned) and generally being annoying ruins performances for everyone else. And yet, I was impressed that staff at New Wimbledon Theatre gave a group of schoolchildren a little talk before curtain up at a matinee of Come From Away, educating them about how they should behave. Maybe this needs to happen more often.

* On the topic of snacks, I wish they could be better at theatres. For starters, whatever happened to decent sandwiches for those who haven't had any supper? However, I have to admit I'm impressed by the calibre of crisps these days (my favourite are Yorkshire crisps in those big round tins). And congratulations to the Gillian Lynne Theatre for selling Henderson's Relish, a condiment unique to Sheffield, at performances of the superb Standing at the Sky's Edge. Plaudits also go to Riverside Studios for selling Korean snacks from a real, convenience store kiosk to audiences seeing Kim's Convenience.

* The provision of enough women's loos can still be an issue, especially in older theatres. Wouldn't it be nice if more places emulated The Bridge Theatre, National Theatre and Riverside Studios, all flush with cubicles for the fairer sex.

* I want to see more of Simon Russell-Beale, simply because he's one of my favourite actors.

* And last, but not least, can we please see more encouragement for new writers in 2025. They need more nurturing and we need more venues daring enough to take risks with new material.

Main Photo Credit: Manuel Harlan

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