2018 Year in Review: Cindy Marcolina's Best of Theatre

As we're ready to draw the curtain on a busy 2018, it's time to look back on my eclectic year of theatre in a (consciously unmethodical) collection of highlights.

I love the Fringe. Seeing little shows in tiny rooms blow people's minds gives me so much joy, and having a small part in spreading the word and attracting audiences to these gems is one of my sources of pride.

Having covered Jermyn Street Theatre's seasons thoroughly this past year, it's not a surprise to see that they're landing on my list with multiple titles. With Tom Littler at the helm, the studio has reached enviable standards and, from making the shift to producing house to striving to work with 50:50 gender equality, it's safe to say that it isn't only their programming worth of note.

Tonight at 8:30 features among my favourite "events": Noël Coward's cycle of one-act plays was brought to the stage by the artistic director himself with class and finesse, featuring a cast of nine troupers who played all 73 roles.

Besides their bigger projects, Jermyn Street were as piercing in their portrayal of a fierce woman who took Hollywood by storm in Mad as Hell as they were hilarious with their latest black comedy, Burke and Hare. I daresay they had a pretty good year altogether.

I was lucky enough to see Monica Dolan's The B*easts at the Bush, which was a punch to the gut with its reflection on ethics and modern society. She challenged preconceived ideas and offered them on neutral ground, instilling doubts and rumination in her public.

The Theatre Royal Haymarket surprised me greatly with Maly Drama Theatre's Life and Fate, a grandiose production produced in its authentic Russian, chilling in its poignancy. This specific piece refreshed my love for theatre, reconfirming how language barriers are secondary to good storytelling.

New and younger companies made a lasting impression, with The Fall presented by the National Youth Theatre, and Wasted, an original musical about the Brontë siblings - both at Southwark Playhouse. The first was a candid look at growing old in a climate that's becoming more and more adverse; the latter set 19th-century Yorkshire to rock music to introduce its world-renowned writers.

In terms of new musicals, Mount Olympus was turned into a celebrity hotspot in Mythic at Charing Cross Theatre. The engaging retelling of the myth of Persephone with earworm tunes was colourful, interesting, and launched Greek gods into a universe of selfies and tabloids.

At the opposite end of the spectrum, A Monster Calls at the Old Vic shook the ground beneath me. Theatre rarely makes me cry, probably because there's a part of me that keeps being aware of the pretence even after I've settled in my seat and suspended my belief.

But everything in this production - from the use of the space to the small details of the direction and acting - was exceptional. It's a show that will stay with me for a long time.

A play that had a similar impact was Drowned or Saved? at the Tristan Bates. Geoffrey Williams built a stunning picture of Primo Levi's state of mind that cuts deep. I appreciated its trilingual nature, and found the direction especially vivid and graceful.

Again at the Old Vic, Wise Children reminded me once more why I love theatre. It was such a joyous and unashamed first show from Emma Rice's company, and I'm truly glad to hear it's delighting audiences all over the country.

I've always been notorious for not being inclined to enjoy immersive theatre, or any kind of audience participation, actually. I signed up to review The Curious Voyage as a challenge to myself because I wanted to prove that I was able to come out of it unscathed; I'd never have thought that it was going to be one of the most intriguing days of my 2018.

Presented as an all-day experience by the Canadian company Talk Is Free Theatre, it even included a site-specific production of Sweeney Todd performed in a derelict building, which should itself should be listed among my favourite shows.

Finally, a mention of honour goes to Michael Grandage's Red at Wyndham's, which I adored for the passion it conveyed and the statement it made about art.

There are a lot more pieces I loved (while there are also many that I wish had been better - as usually happens when you pass the 100-show mark by a mile...), and the ones I've mentioned here are only a small part of that crowd.

This good a year wouldn't have happened without all those people who've worked tirelessly to give their audiences their best night after night. So, a huge thank you goes to everyone who's been brave enough to put on a show.

It's hard to put yourself out there, especially when you know that your work is going to be analysed with a (too often) cold eye. So, bravi to all! I can't wait to see what 2019 will give us.

What are your favourite theatre experiences of 2018? Let us know here or on Twitter

Photo credit: Johan Persson, Manuel Harlan, Alan Harris, Eddie Otchere

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