by Operation Mincemeat
Fortune Theatre, London
A gloriously silly portrayal of the underworld of the second world war. Think MI6 the musical, complete with General Melchett, cross-dressing, and lots of Ian Fleming eyes. The score is infectious, the jokes so fast you’ll only catch half of them on first viewing, and half a dozen performers create the presence and energy of 50 on Broadway. Watch it when you can – you’ll laugh and cry, and you won’t regret it. Lewis, 32, London
Machine
Ustinova Theater, Bath
I’ve never seen anything like Machinal at Ustinov’s studio, Theater Royal Bath. Huge drama and extraordinary performances from the cast – a terrifying, moving and exciting piece of theatre. Best thing I’ve seen in years. It wouldn’t be out of place at the National. It was mind blowing that it was in a small theater in Bath. It is unusual to see work of this quality outside the big cities. We are very lucky to have Deborah Warner producing theater here. Annika Bluhm, Bath
Wood Hill
Summerhall, Edinburgh
I saw the Woodhill by Lung theater company on the outskirts of Edinburgh. I hope it does a full UK tour because everyone should see it. It’s campaign theater with a really emotional call to action, which makes you think differently about our UK prison system and how we deal with, or don’t deal with, suicide and bereavement. It brilliantly brings together the dance and voices of bereaved families in a show that leaves you ready to discuss possible future prison systems that address current injustices for hours on end . So well thought out, from every well-timed move to the fact that you’re given a fitness package to support you with the themes of the play. Long live lung theater company. Minnie, 28, London
Penguin
Home, Manchester
I had the privilege of seeing Penguin in Town, Manchester, in October. It was a powerful and moving performance told with dignity and pride by narrator Hamzeh Al Hussien, who has personal experience of living with a disability, and the discrimination he faces, fleeing conflict in Syria because of the war, and finally seeking asylum in the UK. I highly recommend checking it out if you get the chance. Produced with the support of Curious Monkey, a theater company based in the north-east, who do great storytelling by and with underrepresented groups and for everyone. Pascal D Checkley, 42, Manchester
Boys from Bully Black
Royal Court Theatre, Liverpool
The first time the 1980s TV series was staged and still so relevant in today’s political landscape, I was angered and saddened but also laughed out loud at the Scouse humor. Great ensemble cast but special mention to Barry Sloane as Yosser Hughes, I didn’t think anyone could match the Bernard Hill original but I was wrong. Also, the emotional a cappella lament that Andrew Schofield started playing George and the rest of the cast with him is mentioned. Jackie, 65, West Lancashire
Groundhog day
Old Vic, London
Incomprehensible. I expected an easy laugh and came away having experienced a deep connection with the trials of being human. It was a beautiful piece of theatre, and I saw it four times. It only ran for three months and will have another run after Christmas in Melbourne. How hard can it be to go to Australia? Helen, Southampton
The Gluais and the Cue
National Theatre, London
My favorite was Sam Mendes’ rendition of The Motive and the Cue. I loved Jack Thorne’s play about a play within a play, I bought the script and it doubled. Mark Gatiss’s mastery of John Gielgud’s voice, laughter and mannerisms was astonishing. Johnny Flynn and Tuppence Middleton were very strong as Richard Burton and Elizabeth Taylor – perhaps our first modern celebrity couple? – with that odd mix of arrogance and insecurity. I had tears in my eyes every time. Jane Lee, 75, Kingston-upon-Thames
The Swell
Orange Tree Theatre, Richmond
A (albeit well-acted and nicely drawn) story about a love triangle took a daring final twist that I never saw coming. I spent much of the journey home lost and replaying moments in my head in a whole new light. A little gem. Lizzy 38, London
Grenfell: In the words of the Survivors
National Theatre, London
An extremely powerful, fiercely political examination of what happened that night, with a very respectful account of the community that lived there, before and after. A simple presentation in terms of style, he avoided sensationalism, he focused on the human voice telling us the terrible, scary, very serious stories. Witness action and call to arms. Stephanie, 62, London
Kim Noble: Lullaby for Scavengers
Soho Theatre, London
Performance artist Kim Noble explores isolation and existential anxiety through profound public experiments. Kim covers herself in maggots, talks to us through taxi squirrels, and breaks into the office of the Axa insurance company, sometimes flying. They become more extreme from this. There are also touching moments, including a dialogue between Kim and her dying father. Right before I saw the show, I got a text saying that my childhood friend Emily was in the hospital, and that he wouldn’t make it through the night. I remained in my seat, hyper-aware of the terrible reality that lay outside. But how Kim managed to fight for life, make peace with death and argue for connection reminded me why theater is so important. I know Emily would love the show. Scarlett Stitt, 24, London
The Real & Imagined History of the Elephant Man
Nottingham Playhouse
As a regular theater goer, I found this show to be so different from the mainstream work I’ve generally seen. A very moving and thought provoking drama with powerful acting. Jen Shales, 66, Market Harborough, Leicestershire
Trojan women
Festival Theatre, Edinburgh
Fear and pity of a Greek tragedy, taken to the extent that it has been inserted into the modern mold of the traditional Korean folk opera. Relentlessly and devastatingly, its peaks and valleys ravished me by the scruff of my neck and would not let go. Everything was done with precision, the performers some of the most embodied I have ever seen. The energy they contained and released with longing pierced the heart with the literal resonance of their grief. A terrifying experience and a great achievement. Tom, 28, London
Miss Saigon
Crucible, Sheffield
I had seen Boublil and Schönberg’s Vietnam war musical before and felt uncomfortable watching the performance of a very young girl who is a prostitute. In this production, Kim is a strong and confident young woman who uses those around her to improve her situation. The staging was simpler than the over-explained original. The helicopter scene was much more effective and had the audience holding their breath. The sound was brilliant; the perfect pitch to match the action on stage. John Froggatt, 63, Derbyshire
untitled f*ck m*ss s**gon play
Young Vic, London
A friend bought me a ticket to play untitled f*ck m*ss s**gon and I didn’t have high expectations. I found it very funny and very inspiring. It highlighted racism, misogyny, and imperialism in theater and television in ways I hadn’t thought about before. The dinner party at the end was the perfect uncomfortable conclusion. Jill, 50, Crofton Park
Release your mind
Aviva Studios, Manchester
My youngest son and I went to see Free Your Mind, directed by Danny Boyle and presented by Factory International at the brand new Aviva Studios in Manchester. It is a new take on the film The Matrix. The production was amazing and unique, making great use of a long catwalk-like stage in the second half. I feel privileged to have seen it. Jill, 66, Plymouth
Drive Your Gravel Over the Bone of the Dead
Old Vic Bristol
It is directed and written by Simon McBurney and is based on the novel by Olga Tokarczuk. It was great to see a strong older female central character in Janina Kathryn Hunter – a woman with whom so many of my peers could identify. Joanna Cross, 72, Bristol
Woolf works
The Royal Opera House, London
My favorite show was the Woolf Works ballet by Wayne McGregor and the Royal Ballet, with Alessandra Ferri in the title role, an excellent company and a wonderful production. It left me stunned, happy and grateful that I traveled to the UK for this. Ines, 33, Ireland
Iolanthe
English National Opera, London Coliseum
I am nominating Gilbert and Sullivan’s Iolanthe at ENO. I saw it a few years ago and thought it was so funny that my sons, aged nine and 10, were going to see it this year. It was really funny and they wanted to go back and bring the whole extended family to see it. I love how layered the performance is and the humor was so current. There is plenty of slapstick and even political satire. A great night out and I’ll definitely go again next time it’s on. I think it’s really important to make a case for ENO. They sing in English and provide opera for many people. It’s a shame they’re in so much trouble. Kathryn, 45, London
