The curtain has fallen on another remarkable year in British theatre, and audiences have spoken. From a technically groundbreaking meta-musical to a production that left a seasoned theatregoer a "blubbering wreck", the reader submissions for 2025's favourite stage experiences paint a picture of a vibrant and innovative scene.
A Triumph of Theatrical Innovation
Leading the charge for originality was Inside No 9: Stage/Fright at Hull New Theatre. Phil Dukes, 56, from Brighton, hailed it as a "masterclass in theatrical innovation". The production blurred reality and fiction by seamlessly blending live performance with complex pre-recorded media. In a delightful subversion of expectations, the show concluded not with a signature dark twist but with a defiant, glitzy Hollywood musical routine, celebrating showbiz itself.
Similarly audacious was Łukasz Twarkowski's 'Rohtko' at the Barbican in London. Jill Osborne, 52, was initially wary of the four-hour runtime but was left "astonished" by its constantly shifting sets, inventive live-filming, and a surreal, moving narrative. It was an immersive experience that held attention from start to finish.
Stellar Revivals and Powerful New Writing
Classic stories were reimagined to stunning effect. At the Swan Theatre in Stratford-upon-Avon, the Pulitzer-winning 'Fat Ham' offered a "exhilarating and delightful" rethink of Shakespeare, thrilling US visitor Georgia B Rhoades. Meanwhile, 'Lost Lear' at Edinburgh's Traverse theatre provided a "transcendent experience" during the festival. Jack Brownridge-Kelly, 30, from Newlyn, declared Venetia Bowe's lead performance "the best thing I have ever witnessed on stage", with the audience leaping to its feet.
New writing also shone brightly. 'Exe Men' at Exeter Northcott theatre was praised by Owen from Bath as a "triumphant" example of vital regional theatre. In London, 'The Brightening Air' at The Old Vic kept Monika Diwo on the edge of her seat with its witty, suspenseful dialogue and moving character interactions.
Unforgettable Performances and Venues
Several performances left indelible marks. At the London Palladium, Rachel Zegler's Evita was described as a "force of nature" by Steve from London, who called it the most thrilling show about authoritarianism he'd ever seen. The production cleverly offered front-row seats as an early-booking bargain for £20-£25.
The power of venue and atmosphere was highlighted by Neil, 63, from Glenluce. He was reduced to a "blubbering wreck" by 'Small Acts of Love' at Glasgow's stunningly restored Citizens Theatre, his first visit to the "Citz". He felt the National Theatre of Scotland production deserved to reach a far wider audience.
Other notable mentions included the Radiohead-infused 'Hamlet Hail to the Thief' at the RSC in Stratford-upon-Avon, the gripping two-hander 'The Fifth Step' at @sohoplace in London, and the raunchy historical drama 'Born With Teeth' about Shakespeare and Marlowe at Wyndham's Theatre. The Welsh National Opera's vibrant staging of Bernstein's 'Candide' in Cardiff also provided a cherished generational experience for Beth Charles from Salford.
