Feature | Top Ten Shows of 2017

After 250 or so shows across London and Edinburgh, these are 2017’s top ten (and a few runners up) from The Play’s the Thing UK’s founding editor. Remarkable storytelling, socio-political relevance and innovative form combine to make all of these productions stand out.

10. Wish List, Royal Court
The Bruntwood Prize winner is a scathing political critique with fantastic performances and design. Moving vulnerability in the face of Tory cuts makes for an eye-opening, state of the nation play.

9. Bubble Schmeisis, Battersea Arts Centre
Ritual, family and religion collide in an intergenerational solo performance by Nick Cassenbaum on finding your place in the world.

8. Seanmhair, Edinburgh Festival Fringe
Three women tell the epic love story of Jenny and Tommy, a couple who fell in love on Edinburgh’s cobblestone streets.

7. salt., Edinburgh Festival Fringe
Selina Thompson’s powerful narrative of her cargo ship journey retracing slave routes is a vital confrontation of the West’s success at the cost of black lives.

6. The Long Trick, VAULT Festival
A compelling Cornish story of one family’s poverty and river life is a polished affair with poetry, music and a fantastic script.

5. Translunar Paradise and Odyssey, Edinburgh Festival Fringe
Perhaps it’s cheating to put two shows together, but these classic productions from Theatre Ad Infinitum are a fitting tribute to the company’s decade of groundbreaking physical theatre.

4. Palmyra, Edinburgh Festival Fringe
Bertrand Lesca and Nasi Voutsas latest show was Summerhall’s hottest ticket at the Fringe. The aggressive political show forced the audience to make a difficult decision and face their accountability for the world’s wrongs.

3. The Nassim Plays, Bush Theatre
With Nassim debuting in Edinburgh, the Bush Theatre staged a retrospective of the Iranian writer’s work. The four plays make for an engaging look at a distinct style.

2. The Ferryman, Royal Court
British naturalism is shown at its best in Jed Butterworth’s family drama set in rural N. Ireland during the Troubles.

1. Girl from the North Country, Old Vic
Bob Dylan and Conor McPherson capture the essence of America’s Great Depression in the microcosmic world of a midwestern boarding house. Despair, hope and clinging onto the American Dream is complimented by stunning interpretations of Dylan classics.

Runners Up:
In no particular order, All We Ever Wanted Was Everything, (I Could Go on Singing) Over the Rainbow, I Know You of Old, Killology and Thebes Land didn’t quite make the top 10, but all left powerful impressions in a year of theatregoing. Innovation, emotional engagement and solid dramaturgy are upheld consistently in these shows.

The Play’s the Thing UK is committed to covering fringe and progressive theatre in London and beyond. It is run entirely voluntarily and needs regular support to ensure its survival. For more information and to help The Play’s the Thing UK provide coverage of the theatre that needs reviews the most, visit its patreon.


A Christmas Carol, Middle Temple Hall

By guest critic Laura Vivio

It’s hard to think of a more appropriate show to watch on a cold December day in London, but perhaps impossible if that day happened to be nothing short of the most magical day of the year: seeing this play on Christmas Eve was a real treat, and added another dimension to an experience that would have been jolly to begin with. One of Dicken’s masterpieces, A Christmas Carol is a natural classic for this time of the year, and contributed to creating the very notion of Christmas as we have known it for the past 174 years. 
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Wild Bore, Soho Theatre

It’s rare that I’m intimidated by a show. But as three bare bottoms on the edge of a trestle table ridicule the negative reviews the attached bodies have received, I can’t help but feel vulnerable with my pen in hand and notebook on my lap. Though comedians Zoe Coombs Marr, Ursula Martinez and Adrienne Truscott are the owners of the brazen bums, it’s us critics left with our pants down in this cleverly constructed, meta-meta-theatrical work.

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Last Man Standing, TheatreN16

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By guest critic Nastazja Somers

Theatre N16 has set up the First Credit initiative in order to help drama school graduates land their first gig in a paid, professional environment, something that proves nearly impossible for most people when they first enter this industry. This year’s First Credit particularly suits the mood of our society at present, as Last Man Standing depicts a story of a group of young people from Yorkshire during World War I.

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Nanette, Soho Theatre

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by guest critics Maeve Ryan & Mark Nilsson

The show opens with award-winning comedian Hannah Gadsby revealing that, actually, she plans to give up standup comedy. She confesses that she has spent her ten-year career doing the set up and punchline of jokes. Jokes, she says, are about tension: in the first part she creates the tension and in the second part she releases it, and then we laugh.

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One Mississippi, Traverse Theatre

By guest critic Liam Rees

One Mississippi is a delicate and poignant piece of verbatim theatre, created by Bjili as part of the Scottish Mental Health Arts Festival, specifically bringing to light mental health issues affecting men. Although not necessarily a new topic to explore, one of the standout elements of One Mississippi is its commitment to exploring this issue from a genuinely diverse group of men.

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Lucy Light, TheatreN16

Lucy and Jess have just finished their GCSEs and they are the best of friends. They love the beach, Chardonnay and boys, and they’re going to grow up and conquer the world.

But because real life rarely works like that, these two young people don’t grow up to conquer the world. They stay in their hometown of Scarborough, working jobs they aren’t in love with. Life ticks by. But they both have something much bigger than them casting a shadow over their lives.

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