Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
Alan Harbottle on his year of reviewing at ET
2024 marked my first full year with Everything Theatre, and it’s been a whirlwind of shows, performances, and stories that have stayed with me long after the curtain came down. My reviews this year reflect a real variety of theatrical experiences, from the grandeur of the West End to the intimacy of fringe venues. It’s been a journey through different styles, genres, and themes – everything from Shakespearean drama to musicals, cabaret, improv, and even a touch of magic.
One thing I’ve come to value more and more is the diversity of theatre on offer. From iconic venues like the Barbican and the Globe to smaller spaces such as the Hen & Chickens or the Etcetera Theatre, it’s been a joy to experience performance across the spectrum. There’s a special thrill in uncovering a hidden gem on the fringe, knowing it has the potential to captivate wider audiences. Sadly, not every gem gets to sparkle in the West End, meaning some incredible productions don’t receive the attention they deserve. But that’s the joy of exploring the fringe – celebrating these treasures for what they are and the stories they tell.
Certain themes stood out for me this year, particularly those exploring identity and belonging, especially within the LGBTQ+ community. Frank’s Closet was a real highlight. Watching it grow from its intimate beginnings at the Union Theatre to its fully realised West End debut at Wilton’s Music Hall was a privilege. It’s a show that resonated deeply with me, and creating my first podcast to interview some of the cast and crew was an exciting milestone. I’m hoping the show finds its way back to the stage in 2025. Similarly, F**ing Men and The Faggots and Their Friends Between Revolutions tackled themes that felt deeply personal, and it’s heartening to see theatre continuing to amplify LGBTQ+ voices with authenticity.
Adaptations also featured prominently in my year. Shows like The Buddha of Suburbia, My Beautiful Laundrette, The 39 Steps, and The Taming of the Shrew offered fascinating opportunities to see how stories evolve when translated to the stage. Some brought fresh perspectives to familiar tales, while others left me pondering what was gained – or lost – in the transition.
The performances of Dee Ahluwalia (The Buddha of Suburbia) and Rory Connolly (F**ing Men) were standouts. Ahluwalia commanded the Barbican stage with youthful exuberance and captivating energy, leaving me uplifted long after the show ended. Connolly’s portrayal of multiple characters in a fringe revival was equally memorable, but it was his role as a rent boy that particularly struck a chord. Beneath his character’s bravado, Connolly conveyed a longing for love and a melancholy that was heartbreakingly moving.
Not everything I saw was heavy or thought-provoking. Sometimes, you just need pure escapism, and shows like La Clique, Queenz, Roxie Rocks Chicago, I Should Be So Lucky, and Chitty Chitty Bang Bang delivered exactly that. There’s something to be said for productions that simply aim to entertain, and they certainly succeeded.
So, as I look back on 2024, I feel grateful to be part of the Everything Theatre team and to have had the opportunity to experience such a wide array of shows. It’s great to see ET celebrating LGBTQ+ voices and theatre makers alike. Theatre remains a place where stories come to life, where we connect with one another, and where we can be challenged, entertained, and moved. Here’s to 2025 – I can’t wait to see what it brings.
If reading this has given you the urge to see more theatre in 2025, then why not consider joining our reviewing team. You don’t need tons of experience, just a love of theatre and writing. Interested? Then head over to our applications page here to find out more.
