Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
Reviewer Lucy Carter breaks down her 2024 with Everything Theatre
I’m pretty sure that I’ve seen more shows in 2024 than any year before it, and along the way I’ve seen the good, the bad and the ugly of London’s theatre world.
This has been my first full year with Everything Theatre, and whether I’ve been sat in a repurposed chapel, stood around in a famous nightclub or comfortable in a big-league theatre’s plush seat, I’ve enjoyed it all. Even the productions I haven’t loved have been great fun to review, and have provided entertaining anecdotes for when someone asks whether I have any horror stories to share.
In the spirit of Christmas, kindness and goodwill to all men, here’s a look back at some of the year’s highlights.
The year started off strong with an amateur theatre group’s production of The Real Inspector Hound at Stoke Newington’s Tower Theatre. It exemplified everything that really matters in local theatre – passion, fun, and a love for the material.
Some of the best pieces I’ve seen this year have been comedies, or at least had strong comic elements. Rosaline and Juliet, part of Camden Fringe, has to have been a highlight, putting a new spin on a classic story without ever feeling like it was trying too hard to be ‘down with the kids’. Late entrant Folly To Be Wise also excelled in the laughs department, its well-written central conflict scene matched by snappy delivery whilst it effectively handled mounting tension. Both of these shows were staged in pub theatres, so I think I have to include a disclaimer here that alcohol played no part in my ratings — unless things are really dire, I usually save the complementary drinks for after the curtain falls!
On the other side of the spectrum, I’ve seen some heavier productions over the year that have stayed with me. The Park Theatre’s double bill of one-woman productions The Light House and Sun Bear was an emotional yet uplifting evening, the first show looking at the impact of severe mental illness on family and friends and the second an unvarnished look at how abusive relationships alter perspectives and relationships.
Dance has always been something I love, and I’ve been lucky enough to see some outstanding performances in 2024. From tap extravaganza Stories to the São Paulo Dance Company’s show at Sadler’s Wells, I’ve seen amazing feats (and amazing feet) this year. Pushing myself out of my comfort zone a bit, I was also inspired by ET editor Mary to tackle a children’s show and had a look at the world of cabaret with toe-tapping nights at the Crazy Coqs.
Aside from The Real Inspector Hound, the majority of my favourite shows this year have been entirely original productions in relatively small venues. Fringe theatre is a wonderful way to see the work of new voices, those that can often be missed when they’re only heard for three nights in a tiny venue with no marketing budget to speak of. Writing for Everything Theatre this year has allowed me to see just a handful of the talent that’s out there, a minute proportion of the shows staged every week. The fact that you never know whether you’re about to see the next big thing or spend a turgid hour on an uncomfortable bench seat is all part of the fun.
One of my most overused conclusions to reviews is to say that the cast and creatives of a production are worth keeping an eye on. I’ve said it so many times that it sounds like a throwaway line. But this year, I’ve seen shows and performers that I really do believe will go far. Hopefully 2025 will bring more of the same.
Our thanks to Lucy for her look back on 2024. If you like the sound of the opportunity to see the next big thing before everyone else, why not come and join us as a reviewer in 2025. We’re always looking for new writers, and you don’t need a ton of experience, just a passion to write about theatre. Get in touch with us here.
