Critics' Pick: Aliya Al-Hassan's Best Theatre of 2023

The pure joy of theatre is its ability to constantly renew and surprise. For me, 2023 saw a plethora of excellent musicals. A notoriously hard genre to get right, this year seemed to feature both clever revivals and future successes, many of which remained in my thoughts long after I left the theatre.

One of the most talked about West End productions in 2023 was Jamie Lloyd's production of Sunset Boulevard. For once, the hype should be believed. Lloyd’s stripped back staging, Andrew Lloyd Webber's refreshed composition and incredible technical skill shown in the backstage action and projections was truly something unique. The show has, rightly, renewed the formidable Nicole Scherzinger’s star quality and reminded everyone why there really isn’t another director like Lloyd currently working. I was lucky enough to catch both versions with Scherzinger and the iconic Rachel Tucker; both bringing something totally distinctive to this epic show.

New to the West End, Operation Mincemeat and its’ superfans the "mincefluencers" have ensured that this show has remained in the spotlight. Its success is well deserved, with a seemingly tireless cast and an unlikely storyline, this show has both wonderful performances, nifty staging and one of my favourite lines in a song this year (“a step to the left, jump to the far right”). Whether it will be a permanent a fixture at the Fortune Theatre as its previous resident, The Woman in Black, remains to be seen. However, the show has now been extended for a seventh time, so the omens are good.

I also absolutely loved the revival of Matthew Warchus’ Groundhog Day at The Old Vic; a slicker, shinier and even more absurdly entertaining revival, it was a veritable theatrical triumph and a heartwarming treat for anyone lucky enough to get a ticket. Andy Karl has been playing the role of grumpy weatherman Phil Connors since the role originated and was simply perfect here. The show exceeded all previous box office records to become the highest-grossing Old Vic production in history. Not a surprise to anyone who saw it.

The summer did not provide the best weather many of us have seen. In fact, most summer days were spent under an umbrella of the waterproof, rather than sun-protecting, variety. However, the show must always go on, even for outdoor theatre.

La Cage aux Folles was the standout production from the wonderful Regent’s Park Open Air Theatre. Carl Mullaney was on stunning form as drag queen Albin, supported by a fabulous cast resplendent in Ryan Dawson Laight's spectacular costumes. Stephen Mear’s choreography set the stage alight in a frothy and light-hearted production that warmed up the chilliest summer evening. Progressive, inclusive and thoroughly entertaining.

In the current climate, it could seem like an odd decision to set up a brand new theatre, however director Joe McNeice and Brendan Maye decided to do just that. Set outside in a bucolic lavender farm near Epsom, its inaugural production was a joyous revival of Irving Berlin’s Annie Get Your Gun. SuRie and Charlie McCullagh had almost perfect chemistry as Annie and Frank; likeable, funny, with hints of vulnerability, this was an exuberant and carefree production that would not have looked out of place on a London stage.

The National Theatre has had a wonderful year, but in my opinion, they saved the best until last with The Witches. A potential rival to Matilda The Musical (yes, it’s that good), Lyndsey Turner’s production is some of the most fun I had in a theatre this year and everything you want from a musical; great songs, compelling but not complex storyline, stonking choreography and wonderful performances, particularly from the uber-talented children, who are not sickly sweet in any way. A gem and one that is bound to return.

Away from the musicals, Tom Littler continues to settle in well as artistic director at the wonderful Orange Tree Theatre. As well as fulfilling its role as a space to experiment, it also attracts some famous faces who clearly respect its ethos enough to want to perform here. With some vintage performances from both Tara FitzGerald in Duet For One and Niamh Cusack in That Face, this tiny South West London venue continues to punch well above its weight.

My 2023 Pet Peeve was standing ovations. For me, a standing ovation is a powerful message from the audience to the cast and creatives. One of immense appreciation, only to be used when you have seen something really special. Once a novelty, increasingly we are seeing audiences jumping to their feet after the most average of performances. This year I have even seen (excuse me while I clutch my pearls) several standing ovations during performances. Initially, this Broadway trend must be lovely for cast and crew, but surely loses its novelty value very quickly when audiences automatically jump to their feet at every performance?

It is inescapable that there are a myriad of difficulties currently facing theatremakers and there have been many unsettling changes at the top this year. However, some appointments give me much hope for the future, particularly that of Drew McOnie and Indhu Rubasingham as artistic directors of Regent’s Park Open Air Theatre and The National Theatre respectively. These brilliant appointments should produce some wonderful, diverse work and bring more people to our amazing art form.

I’m also thrilled about the future West End transfers of Tyrell Williams’s Red Pitch and Ryan Calais Cameron’s For Black Boys… It shows me that there is an welcome appetite for bringing what many people view as niche or "difficult" productions to a wider audiences-and deservedly so. They are both stunning shows that need to be seen.

How lucky we are to be able to witness such wonderful creativity, joy and entertainment. Here’s to 2024!

Main Photo Credit: The Cast of Sunset Boulevard, Marc Brenner

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