Giant
Royal Court, London
Giant by Mark Rosenblatt is new writing at its best, with a (quite literally) towering performance of depth and complexity from John Lithgow. Rachael Stirling echoes her mother Diana Rigg but brings her own complexity. Elliot Levey and Romola Garai both perform dynamically and Nick Hytner allows the text to breathe for itself. Roald Dahl and antisemitism, family, what is real and what is not … A week later, I am still thinking and questioning and am about to buy a copy of the play. Stunning. Jonathan, 61, Cambridge
The Cabinet Minister
Menier Chocolate Factory, London
A witty farce with an excellent cast. It could have easily gone for pops at modern-day political satire as well, but kept things grounded within the Victorian political setting – and was all the better for it. The cast was superb – Nancy Carroll in particular. Ben Watters, 32, Bristol
The Merry Wives of Windsor
Royal Shakespeare theatre, Statford-upon-Avon
Firstly it’s an excellent play, far better than many of Shakespeare’s comedies. There is loads of comic potential for the actors. This was an exquisite production – again far better than the RSC’s average, with a lovely, imaginative suburban set. The actors all had great timing, but may I mention John Hodgkinson and Siubhan Harrison as outstanding? Little touches made the evening perfect: the male actors all wore bold coloured socks. I will not forget that. Sally Bigwood, Stratford-upon-Avon
The Last Laugh
Edinburgh fringe
Amazing, funny, full of pathos, superbly written and the acting was superb in this play in which Tommy Cooper, Eric Morecambe and Bob Monkhouse all share the same dressing room. It’s in the West End and then on tour in 2025 – don’t miss it. Steven Wood, 50, Manchester
Becoming Nancy
Birmingham Rep
It had a great all round cast without being dependent on one headline actor. An amusing and unconventional take on a familiar trope: coming to terms with being gay. And an uplifting musical that still manages to be thought-provoking. It’s about time hard-working regional reps enjoyed the spotlight. Philip Sheldon, 70, Shrewsbury
Nowhere
BAC, London
From his first breath on stage to the end of the performance, I was captivated and in awe of Khalid Abdalla’s range in his one-man show. I’d only seen him as Dodi in The Crown before. I loved the way he gave us so much history, language, psychology and media to take us on a journey of his experiences in the UK and Egypt. I felt like I knew him by the end. Anna Nevin, London
Subterranea
The Laurels, Whitley Bay
A show about a potential future, where some live above ground and some live below ground, after being sold a lie. Amazing acting, an incredible story of survival and a potential taste of times to come. Barry Garnham, 53, Cramlington, Northumberland
Lizzie
Hope Mill theatre, Manchester
Every production I’ve seen at this theatre has been outstanding, but this was another level. Lizzie had four female parts – every one was superb. Their singing was amazing. But the whole staging was so impressive. It dealt with the difficult subject of Lizzie Borden full-on but with humour (and shades of Sweeney Todd). There is a large stage at Hope Mill which allows for innovation, and yet the venue is so small it really draws the audience in, and you don’t miss a thing. The acting, singing, costumes, sets were all out of this world. Susan Southworth, Bury
Oliver!
Chichester Festival theatre
It’s hit after hit from the very start. The staging is so clever but doesn’t dominate. Simon Lipkin’s Fagin is spot on and steals the show even among a very talented cast. The orchestra has some very talented players (some crackin’ trombone) who provided the perfect canvas throughout. As well as all the well known songs, That’s Your Funeral is one of my favourites and was just deliciously performed. It deserves all the success in its West End run. Ian, Hampshire
The Picture of Dorian Gray
Theatre Royal Haymarket, London
Hearing that this would be a one-woman show where the lead plays every single character, I was sceptical about how they would pull this off. How could Sarah Snook be everywhere all at once? Well, it blew away my scepticism. On top of the amazing feat of performing every single part, she managed to show the ghastliness of the character and expertly externalised the rotting soul within. The play managed to be both comical and tragic – a brilliant tribute to the novel. The social commentary is still very pertinent and the updates, such as the Studio 54 inspired debauchery and the use of modern devices, were so well thought out and executed that it did not seem at all anachronistic. Khalid Peerbaccus, London
Princess Essex
Shakespeare’s Globe, London
Princess Essex is based on the true story of the first black woman to enter a beauty pageant, which took place in Southend in 1908. The play was a joyous telling of an important story, complete with wonderful performances, especially from Anne Odeke, the lead actor and writer. The play had songs, laughter and many moments of pure emotion – touching many themes still relevant today. Jon Fraser, Leigh on Sea, Essex
Julius Caesar
Shakespeare North Playhouse, Prescot
Oddsocks Theatre Company has toured accessible, outdoor Shakespeare for 35 years, often without any funding. It has employed many performers (including myself) but on this occasion I was a paying member of the general public. I was lucky enough to see this production in the Ken Dodd memorial garden at Shakespeare North. And it was everything Shakespeare should be. Relevant for today, and entertaining. I took a really poorly friend who was waiting for a transplant and we have never laughed so much. My friend has since had her transplant and thankfully is doing well. But in that moment where we were together sat huddled under a blanket watching outdoor theatre, it was magic. Rebecca Little, Cheshire
Opening Night
Gielgud theatre, London
Notoriously, it split opinions, but I actually loved Opening Night by Rufus Wainwright and Ivo van Hove, based on the film of the same name by John Cassavetes. Its billing as “a new musical” did it a grave disservice and set up expectations that this piece, closer to chamber contemporary opera in form and intent, could ever deliver on. It was moving, daringly constructed, involving and played with great brio by a talented band and ensemble cast, whose commitment and talent was undeniable. I can’t wait to see a different Opening Night one day, in a smaller space, with a more intimate, less commercially minded production, unencumbered by the demands of its backers or the pressures of the West End. Philip Jack Bray, 57, East Sussex
Hello, Dolly!
London Palladium
Imelda Staunton was superb in the title role, which effectively carries the whole show. She displayed a whole raft of emotions, including uncertainty and nervousness when she came down the staircase for the the big number in act two. She was excellently supported by Andy Nyman as Horace and a company of talented singers, dancers and actors as well as a great band. The sets and costumes were colourful, evocative and a joy to behold. I wish I could have seen it again, but it was a short run. Derek Blyth, 66, Fairfield, Bedfordshire
The Deep Blue Sea
Ustinov theatre, Bath
Tamsin Greig was a tour de force. I didn’t know what to expect from the show but I was forced to confront loneliness, longing and the human condition. I was left with an overwhelming sense of emotion that meant I didn’t even stand up for the much deserved standing ovation. I was not surprised when a run on the West End was announced. Amanda, Wiltshire