It’s that time of the year to focus on the best of what I saw in theatreland in 2025. These 60 shows stand out from the crowd – I saw a total of 270 – and have each left a memory of something rather special.
Whether the show made me laugh, cry, think, reflect, shudder or a mix of all the above, these are the shows I am glad I was able to fit into my schedule.
Each of these was above average, well-written and performed, and offered something original into the melting pot of what we call performance art. That’s what I look for in theatre.
Memorable, challenging, and well-crafted shows. Budget doesn’t matter, nor do star names (although there’s a sprinkling of those each year).
Note: As a solo reviewer, it is not possible to see every show! I do my best to catch the ones that capture my interest, but some will inevitably pass me by.
PRs can’t always meet the demand for press tickets, and my finances are limited (no Paddington The Musical this year, but perhaps next if I win the ticket lottery!).
Sadly, I missed out on The Weir and Brigadoon, which may well have made this list, but have now closed.
I did send guest reviewers out four times this year, but none of their shows are included in this list.
Highlighting approximately 25% of the shows I have seen seems fair to the breadth and scope (and quality) of what was on offer in 2025.
The top ten
- 1. KENREX – Southwark Playhouse Borough (play with music). This was the show that impressed me the most in 2025. It was rewarded later with a West End transfer to The Other Palace. Jack Holden plays every character in a true crime Americana tale with live rock music. Exhilarating. [Thanks to Bread and Butter PR].
- 2. All My Sons – Wyndham’s (play, revival). The last revival of this Arthur Miller play was at the Old Vic, and suffered from a weak performance as Joe. No such issue here, as Bryan Cranston and Marianne Jean-Baptiste made this minimal production from Ivo Van Hove utterly convincing. [Thanks to Raw PR].
- 3. Krapp’s Last Tape – Barbican Theatre (solo play, revival). I saw two versions of Beckett’s affecting monologue this year, and both boasted star power. This one with the Irish actor Stephen Rea was spellbinding, perceptive, and moving. Rea’s hangdog expression and recorded voice were perfect. [Thanks to Barbican PR].
- 4. A Moon for the Misbegotten – Almeida Theatre (play, revival). After seeing Long Day’s Journey Into Night in the West End last year, I was keen to see this sequel following the younger James Tyrone. Michael Shannon and Ruth Wilson tackled this cluttered and complicated drama with great skill.
- 5. The Pitchfork Disney – King’s Head Theatre (play, revival). Philip Ridley’s folk horror apocalyptic play ran without an interval and never let up on the tension. Deeply disturbing and darkly comic, it offers shocks and surrealism with genuine thrills and chills. Hard to classify and still hard-hitting. [Thanks to Kate Morley PR].
- 6. Ballet Shoes – National Theatre Olivier (play with music). I finally caught this after missing out last year. Although it isn’t a by-the-book adaptation of Noel Streatfeild’s book, it captures the heart and soul of the Fossil sisters and has some beautiful moments taking place on a stunning set. [Thanks to National Theatre PR].
- 7. The Sociable Plover – Old Red Lion Theatre (play, revival). This curious play defies expectations by starting as a quirky comedy and ending up as a truly disturbing horror. It proves that small spaces with low budgets can still produce the goods when the script, direction and performances are great. [Thanks to Matthew Parker PR].
- 8. Gwenda’s Garage – Southwark Playhouse Borough (musical). Set in the North of England in a car workshop run by lesbians, and set in the 1980s, this has so much heart and pride. It left me feeling on a high and really embracing the women who pioneered their rights in an era dominated by men. [Thanks to Storytelling PR].
- 9. Emilia – The Questors Playhouse (play with music, amateur). Morgan Lloyd Malcolm’s play is deeply feminist and cheekily anarchic, and this was the best show from the Questors company this year. A really ambitious project that came across very well and dealt with the comedy aspects well. [Thanks to Questors PR].
- 10. Stereophonic – Duke of York’s Theatre (play with music). Heading across from the States, loaded with Tony nominations, this bore more than a passing resemblance to the story of Fleetwood Mac, but was an absolutely fascinating look into the backstage dynamics of a feuding band. [Thanks to Emma Holland PR].
11 to 20
- 11. Dear Young Monster – Soho Upstairs (solo play). Pete MacHale’s story takes inspiration from his own journey as a trans man, and was beautifully written and performed. For such a young writer to present something so personal, quirky and accessible was something to celebrate in Soho’s studio. [Thanks to Ellen at Pansy Studios].
- 12. Cry-Baby – Arcola Theatre (musical). The dancing was out of this world in this 1950s set musical, based on the 1990 film. With elements of Grease and Dirty Dancing, this show was full of life, fire and energy, while tackling some dark themes with relevance to the modern USA. [Thanks to Arcola PR].
- 13. UnTethered – The Glitch (solo play). Tana Sirois developed a show that was hard to characterise, but was a very enjoyable and innovative look at dating and OCD. It’s physical, thoughtful, and perceptive, bringing the audience into the piece and leaving us questioning our own choices. [Thanks to Tana Sirois].
- 14. The Importance of Being Earnest – Noel Coward Theatre (play, revival). An Oscar Wilde revival is always worth celebrating. Following on from David Suchet and others, Stephen Fry stepped into the skirts of Lady Bracknell in a cheeky and very queer-themed version that lit up the West End. [Thanks to National Theatre PR].
- 15. Hot Mess – Camden Fringe, Lion & Unicorn Theatre (solo show). This is not the musical that played the Edinburgh Fringe, then came into London. It was a show (about IBD) that could be classed as a variety of things,s including comedy. It shouldn’t have worked in any way – but it did. [Thanks to Mobius PR].
- 16. Play On! – Lyric Hammersmith (musical). Twelfth Night goes jazz. When a show stays with you most of the year, it is always a good sign. This was a remarkable riff on the Shakespeare comedy that owed a lot to The Cotton Club or Five Guys Named Moe with some knock-out performances. [Thanks to Chloe Nelkin Consulting].
- 17. Gandini Juggling – Heka – The Place (circus). Sean Gandini and his company are master jugglers, and this show also took a peek into the secrets behind some magic tricks and illusions. Their shows are amusing, proficient and just a little bit bonkers. [Thanks to Martha Oakes PR].
- 18. Every Brilliant Thing – @sohoplace (play, revival). I was unavailable for my first choice when this was performed by five individual performers, but got in to see Sue Perkins. I got a lot out of it by knowing the piece already and how it worked. Very clever and very emotional. [Thanks to Jo Allan PR].
- 19. Summer 1954 – Richmond Theatre (composite of two plays, revival). Two plays by Terence Rattigan made up this composite show, which featured Sian Phillips and Nathaniel Parker. It might have been traditional in its approach, but that’s not always a bad thing. [Thanks to Daniella at ATG].
- 20. Cascando – Jermyn Street Theatre (play, immersive). This was the Beckett show that had us donning cloaks and hoods and walking, slowly, single file around the streets of St James. It worked wonderfully well and has to be included as something that really added something new to the play. [Thanks to Kate Morley PR].
21 to 30
- 21. One Hundred and Thirty Thousand Squirrels – Camden Fringe, Aces & Eights (comedy). Bringing back the ghosts of numerous women in comedy, Zoë Clayton-Kelly clowned, sang, and teased her way through some rather meaty topics. The show transferred to Edinburgh Fringe shortly afterwards. [Thanks to Mobius PR].
- 22. Uprooted – New Diorama Theatre (play). Ephemeral Ensemble followed up last year’s brilliant Rewind with another unclassifiable play about climate, coups, and confusion. Hard-hitting, strong-willed, and loud, this was staged in the perfect place and us feeling united against oppression. [Thanks to Flavia at New Diorama].
- 23. Pup Play – Camden Fringe, Barons Court Theatre (solo show). This has to have a place in the best shows of the year because it was, as I said, “disturbing in a good way”. Noah Pantano used his research to highlight pup play in the gay BDSM community. This year’s High Steaks. [Thanks to Mobius PR].
- 24. Seven Drunken Nights – Dominion Theatre (concert). Paying tribute to The Dubliners, this was the Irish singalong you always knew you wanted, led by Ged Graham. You probably needed to know the band and the history of Ireland to fully appreciate it, but this was a definite hit for me. [Thanks to Chloe Nelkin Consulting].
- 25. Creditors – Orange Tree Theatre (play, revival). I rented the online version of this play for the cast alone (Charles Dance, Nicholas Farrell, Geraldine James). Although the characters in this Strindberg play had to be aged up, it worked well and was a worthy revival, performed with grace.
- 26. Split Ends – Camden Fringe, The Water Rats (solo show). Claudia Shnier returned to London with her show about OCD and how it affected her life. Very funny, inventive, and honest, this was a show I quickly and easily engaged with. Shnier is an intense performer who put her story across well. [Thanks to Mobius PR].
- 27. The Comedy About Spies – Noel Coward Theatre (comedy). Mischief has a perfect formula, and this show was extremely daft and perfectly timed. Leave your disbelief at the door and enjoy the silliness of this group of fools. I saw The Play That Goes Wrong again this year: this was better. [Thanks to Storyhouse PR].
- 28. Rey Camoy – Edinburgh Fringe, online (physical theatre). Camoy, a Japanese painter, is celebrated in this fusion of music, movement and mime. In tarinainanika’s production, a collection of scenes bring each of the paintings to life. An important reminder that online performance is still valuable. [Thanks to C Arts].
- 29. The Genesis – Peacock Theatre (dance). Copenhagen Collective is an acrobatic showcase, offering diverse perspectives and formations beyond the usual circus tropes. Circus chaos meets controlled technique in the work of this company of bright young performers. [Thanks to Bread and Butter PR].
- 30. Assassins – SEDOS at Bridewell Centre (musical, amateur). My first experience of a SEDOS show, and it was sensational. Not one of Sondheim’s best-known or appreciated shows, this was a lovely experience from a really accomplished company. I hope to see more of their work in 2026. [Thanks to SEDOS PR].
31 to 40
- 31. The Trouble With Blayds – Finborough Theatre (play, revival). William Gaunt was the draw in this studio production of AA Milne’s rarely performed play about a warring family and a literary secret. [Thanks to Finborough PR].
- 32. FREE – Sadler’s Wells East (dance, immersive). Toussaint To Move made the stage into a riot of colour and movement in this creative look at immigration and integration through music, dance and poetry. [Thanks to Sadler’s Wells PR].
- 33. The Railway Children – Theatre at the Tabard (play with music). With a remarkable set, this pub theatre production was sweet, emotional, and a love letter to the steam railways. [Thanks to Sarah at Tabard].
- 34. Are We Doing This Right? – Riverside Studios (play). Honor Koe’s play about young flatmates and their jobs, relationships, families, and an honest look at creativity and performing, [Thanks to Honor Koe].
- 35. Sweetheart – Lion & Unicorn Theatre (play). An unsettling tale by Robert Wolfe about a couple who lure people into their home, which was hard to watch and almost gleefully distasteful. A deeply engaging debut. [Thanks to Becky Dueck].
- 36. ASBO BOZO – Riverside Studios (solo show). Georgina Duncan’s social worker gives this play a reality and drive. A solid working-class solo masterpiece. [Thanks to Georgina Duncan].
- 37. The Great Christmas Feast – The Lost Estate (play, immersive). A dining experience set in a faux-Victorian setting with cock- or mocktails and a performance of A Christmas Carol. Truly atmospheric. [Thanks to Gingerbread Agency].
- 38. Lacrima – Barbican Theatre (play). Three hours of story about how high-end, single-use fashion is made across the globe, and the impact on workers from the most frivolous of requests. Thoughtful and shocking. [Thanks to Barbican PR].
- 39. The Seagull – Barbican Theatre (play, revival). Cate Blanchett offers a star attraction to Thomas Ostermeier’s very modernist take on Chekhov. Minimalist, rearranged, and original.
- 40. Titus Andronicus – Hampstead Theatre (play, Shakespeare). The RSC’s gory take on tragedy lost its star before it came to London but retained a chilling power in the ultimate revenge tale. [Thanks to Hampstead PR[.
41 to 50
- 41, 1536 – Almedia Theatre (play). The Tudor peasant women get highlighted in this strange and brutal drama. It heads to the West End in 2026.
- 42. Beauty and the Beast: A Horny Love Story – Charing Cross Theatre (adult panto). Cheerfully camp, quirkily queer, and gregariously gay, this colourful show from He’s Behind You is anything but Disney. [Thanks to Chloe Nelkin Consulting].
- 43. Crocodile Fever – Arcola Theatre (play). Meghan Tyler’s dark comedy pushes at the boundaries of abuse, religion, and the horrors hidden away. [Thanks to Arcola PR].
- 44. Light of Passage – Royal Opera House (dance). Crystal Pite’s work returned to London offering musings on love, loss, displacement and emotion. [Thanks to Royal Ballet and Opera PR].
- 45. Clueless The Musical – Trafalgar Theatre (musical). Popping with colour and capturing teen girl drama in all its facets, it was good to catch this before its closure. KT Tunstall provided the songs. [Thanks to Neil Reading PR].
- 46. Our Mighty Groove – Sadler’s Wells East (dance, immersive). Opening this new venue, a brash younger sibling to Clerkenwell, Vicki Igbokwe-Ozoagu’s production set up the plan of a night out and then placed us in it. [Thanks to Sadler’s Wells PR].
- 47. The Gathered Leaves – Park Theatre 200 (play, revival). Andrew Keatley’s play, a family saga, returned after ten years and lost none of its power to move and shock. [Thanks to Emma Holland PR],
- 48. Entertaining Mr Sloane – Young Vic (play, revival). Tamsin Outhwaite runs away with her grotesque turn in Joe Orton’s strange psychological sex comedy, set in a set of detritus and mangled furniture.
- 49. Lifers – Southwark Playhouse Borough (play). Set in prison and focusing on how the system treats, and fails, elderly long-term residents, this offered significant food for thought. Peter Wight excelled in the central role. [Thanks to Cliona Roberts PR].
- 50. Manhunt – Royal Court Theatre (play). The story of murderer Raoul Moat is dramatised and stylisied, offering some startling technical choices and digging into how the media feeds perceptions of criminals.
51 to 60
- 51. The Last Laugh – Noel Coward Theatre (play). Three major comedians meet in a dressing room. A set-up for a joke, perhaps, but equally an affectionate look at the decline of old school performance. [Thanks to Raw PR].
- 52. Fiddler on the Roof – Barbican Theatre (musical, revival). Another catch-up after missing this at Regent’s Park in 2024, this vibrant musical offered an interesting contrast to the Menier’s production of 2019.
- 53. Diagnosis – Finborough Theatre (play). Athena Stevens writes and stars in this production about the perception of disability in the police and legal system. Cleverly done, honestly performed. [Thanks to Finborough PR].
- 54. King Lear is Dead – Camden Fringe, Old Red Lion Theatre (play, Shakespeare). A queer and occasionally musical adaptation of Lear that offers a very original take on an old perennial. [Thanks to Mobius PR].
- 55 =. Julius Caesar – at Hen & Chickens Theatre and Omnibus Theatre (play, Shakespeare). These were both so good I couldn’t distinguish between them. The first by Rag and Bone Theatre, visceral and vibrant. The second, by Tangle Theatre, driven by pulsing African melodies. [Thanks to Louis at Rag and Bone, and Nancy Poole PR].
- 57. After Sunday – Bush Theatre (play). A cookery class in a psychiatric hospital. A compassionate teacher and a sliver of hope. Interesting to compare with Lifers, which covers some similar ground. [Thanks to Martin at Bush Theatre].
- 58. Just for One Day: The Live Aid Musical – Shaftesbury Theatre (musical). For the nostalgia value as I was there in 1985, and also at this musical’s launch at Wembley. A remarkable capture of a movement set to change the world. [Thanks to Storyhouse PR].
- 59. Ugly Sisters – Soho Upstairs (play, LGBTQIA). Charli and Laurie, aka piss / CARNATION, bring their show back to the fringe and challenge us to think about trans femininity within a mischievous wrapper. [Thanks to Multitude Media PR].
- 60. The Frogs – Southwark Playhouse Borough (musical). Early Sondheim riffs on Greek mythology in a pleasingly odd production. [Thanks to Kevin Wilson PR].
These shows were truly the cream of the crop this year, spanning a variety of genres, styles, and venues. This list does not include repeats of shows I saw for the first time last year.
Header image of KENREX by Manuel Harlan.