Welcome to the Etties 2025: the awards that care about the shows everyone else misses. We’ve worked with our reviewers to curate a list of gems that prove size isn’t everything. This isn’t a popularity contest; it’s a celebration of the art.
Whilst the majority of our work is predominantly within London, we’re always trying to push that boundary out across the country. 2025 saw us review 104 shows outside of the M25, from the south coast of Brighton all the way to Edinburgh, and more than a few in Sheffield. We do this because we know geography should never be a barrier to greatness.
It means we felt we had enough to introduce our Etties Award for Regional Theatre. These six nominees represent the gold standard of UK theatre, showcasing everything from groundbreaking puppetry and historical drama to joyful celebrations of friendship.
We want to see the Etties grow even bigger next year, but we can’t be everywhere at once. If you live outside of London and are passionate about championing your local theatre scene, why not join our team of volunteer reviewers? Whether you’re based in Manchester, Bristol, Cardiff, or the Highlands, we want to help you shout about the incredible work happening on your doorstep. Find out more here.
You can read more about The Etties here. Winners will be announced during our first ever Instagram Live, details to be announced soon.
Here is the Etties 2026 shortlist for Best Regional Theatre.
In the Mouth of the Wolf @ The Barn Theatre Cirencester
An “original and humbling” drama, In the Mouth of the Wolf brought a deeply personal piece of history to life at The Barn Theatre. Based on the true story of Michael Morpurgo’s uncles during WWII, this stage adaptation explored the diverging paths of two brothers: one a dedicated pacifist and the other an actor who felt compelled to fight.
The production was selected for its exceptional stagecraft and “beautifully executed” multi-roling by a cast of just three. Under the direction of Philip Wilson, the staging used simple yet effective sliding panels and atmospheric smoke and lighting to transport the audience from intimate reflections to the front lines of warfare. With a script by Simon Reade that perfectly balanced warmth and tension, it offered a moving glimpse into a story close to the heart of one of our most beloved authors.
Military Wives – The Musical @ York Theatre Royal
A “funny and moving celebration of community,” Military Wives – The Musical at York Theatre Royal took the real-life story of military choir formations and transformed it into a powerful piece of musical theatre. Written and directed by Debbie Isitt, the production expertly balanced laugh-out-loud comedy with devastatingly raw moments that highlighted the unrelenting nature of life on a military base.
The show was nominated for its creative stagecraft and stunning vocal performances. Katie Lias’ set design, featuring barbed wire arches woven with poppies and symbolic cardboard boxes, created a poignant backdrop for the unfolding drama. From the “palpable longing” in Caroline Sheen’s choreography to the “roof-raising” finale, this was a feel-good musical with a deeply important message at its core, proving that the strongest harmonies are found in friendship.
A Christmas Carol @ Crucible Theatre, Sheffield
Sheffield’s Crucible Theatre delivered a “sumptuous and magical” reimagining of the Dickens classic, uniquely rooted in the city’s own history. This new adaptation by Aisha Khan swapped the traditional London setting for a distinctly Northern atmosphere, most notably through the inclusion of the Sheffield Carols – folk songs traditionally sung in local pubs – performed with “spellbinding” a cappella harmonies by the ensemble.
The nomination celebrates the production’s inventive stagecraft and exceptional performances. Ian Midlane was a standout as a “layered and human” Ebenezer Scrooge, moving from blustery sarcasm to a bittersweet, moving redemption. With a stunning set by Rose Revitt and Kevin Jenkins that made expert use of the Crucible’s thrust stage, and creative touches like a miner-inspired Ghost of Christmas Past, this was a festive treat that felt both “delicately fresh” and deeply authentic to its community.
Dancing Shoes @ Traverse Theatre, Edinburgh
A “joyful vision of male friendship,” Dancing Shoes at the Traverse Theatre (produced in association with A Play, A Pie & A Pint) proved that the road to recovery can be paved with sequins and solidarity. Writers Stephen Christopher and Graeme Smith crafted a witty, absurd, and deeply moving narrative about three men who meet at a community support group and find salvation through the unlikely medium of dance.
The production earned its nomination for its “high-energy choreography” by Jack Webb and a standout performance from Stephen Docherty, who imbued the lead character, Donny, with a quiet dignity and infectious vulnerability. Director L Brian Logan utilized a minimalist yet efficient design to transition between drab meeting rooms and vibrant nightclubs, creating a “feel-good alternative” to traditional theatre that championed the courage to be one’s true self.
The BFG @ The Royal Shakespeare Theatre
An “unmissable” and “hugely impressive” adaptation, The BFG at the Royal Shakespeare Theatre proved that even the biggest stories can be brought to life with a little stage magic. This RSC production was nominated for its groundbreaking use of scale and puppetry, masterfully designed by Toby Olié, which allowed the friendly giant to interact seamlessly with a young Sophie in a way that felt truly spectacular.
Director Daniel Evans oversaw a production filled with “stunning effects,” from dreams darting above the audience to the BFG’s exhilarating flight to London. With a “delightfully witty script” by Tom Wells and a cast that brought both heart and humor to Dahl’s classic tale—including a “terrific” lead performance from John Leader, this production was a complete joy that did total justice to its much-loved source material.
The Last Laugh @ Lyceum Theatre Sheffied
A “perfectly constructed” and “unmissable” tribute to the golden age of British comedy, The Last Laugh at the Lyceum Theatre brought legends Tommy Cooper, Eric Morecambe, and Bob Monkhouse back to life. Written and directed by Paul Hendy, the play imagined the trio in a dingy dressing room, blending laugh-out-loud humor with a moving poignancy about the fleeting nature of fame and the driving need to hear an audience laugh.
The nomination highlights the “astonishing” quality of the lead performances. Damian Williams, Simon Cartwright, and Bob Golding didn’t just imitate their heroes; they inhabited them with incredible physicality and vocal precision. From the clever banter about the “chisel vs. sledgehammer” approaches to comedy to the heart-tugging reflections on the insecurities behind the smiles, this production was a masterclass in stagecraft that offered a deep insight into the hearts of our favorite master craftsmen.
