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Review of the Year 2022 – The Twelfth Annual Chrisparkle Awards

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It is my pleasure to welcome you again to the glamorous showbiz highlight of the year, the announcement of the annual Chrisparkle Awards for 2022. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 17th January 2022 to 9th January 2023. Are you all sitting comfortably? Then we’ll begin!

 

The first award is for Best Dance Production (Contemporary and Classical)

This includes dance seen at the Edinburgh Fringe, as well as elsewhere in the country. We saw seven dance productions, and these are the top three:

In 3rd place, the anarchic inventiveness of Ukraine’s Ballet Freedom at the Edinburgh International Conference Centre, in August.

In 2nd place, the Balletboyz on a superb return to form with their Deluxe tour, at the Royal and Derngate, Northampton, in May.

In 1st place, the Edinburgh Festival Ballet/Peter Schaufuss/Ian McKellen production of Hamlet at the Ashton Hall, St Stephens Church, Edinburgh.

 

Classical Music Concert of the Year.

We only saw one classical concert this year – The Royal Philharmonic’s The Armed Man: A Mass for Peace at the Royal and Derngate, Northampton, in February. So I’m giving it an honorary mention, but without any competition, I can’t really call it the best classical concert this year!

 

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Here are the top three:

In 3rd place, the always delightful Sheffield pantomime, Jack and the Beanstalk at the Lyceum Theatre, Sheffield, in December.

In 2nd place, the most lavish of panto experiences imaginable, Jack and the Beanstalk at the London Palladium in December.

In 1st place, the most remarkable gala celebrating the life and work of a remarkable man, Stephen Sondheim’s Old Friends at the Sondheim Theatre, London, in May.

 

Best Star Standup of the Year.

Astonishingly, we only saw three big star standup shows this year – and these are they:

In 3rd place, the endlessly brilliant and always thought provoking Dara O’Braian in his So Where Were We tour, at the Milton Keynes Theatre, in November.

In 2nd place, the highly personal but always funny material of Patrick Kielty in his Borderline tour, at the Royal and Derngate, Northampton, in June.

In 1st place, the irrepressible Omid Djalili in his The Good Times Tour, at the Royal and Derngate, Northampton in April.

 

Best of the Rest Stand-up of the Year. at the Screaming Blue Murder/Comedy Crate nights in Northampton.

In the past the Committee has given awards for the best Screaming Blue Murder Comedy Club stand-up, and last year this was combined with the Comedy Crate Stand up shows. There had also been a Best of the Rest award for various other comedy venues, Edinburgh Previews and the like. We’re now going to streamline these separate categories into one – The Best of the Rest! Out of countless comics we saw, a longlist of thirteen provided the following top five:

In 5th place, the always ebullient Aurie Styla (Upfront Comedy Club – May)

In 4th place, the hilarious and quick-witted Kane Brown (Upfront Comedy Club – October)

In 3rd place, the unpredictable and always brilliant Russell Hicks (Comedy Crate – March)

In 2nd place, the brilliantly inventive Mark Simmons (Comedy Crate – March, Comedy Crate Edinburgh Preview – July)

In 1st place, the sheer delight of Gerry K (Screaming Blue Murder – March)

 

Best Musical.

I saw sixteen musicals this year, a combination of new shows and revivals. One big disappointment, a few not entirely to my taste but that’s more my issue, and, as usual, the others were all varying degrees of excellent. Here’s my top five.

In 5th place, an old favourite given a tremendous treatment, the touring production of Hairspray that we saw at the Royal and Derngate, Northampton, in January 2022.

In 4th place, a show that’s only going to grow in stature through the ages, putting Sheffield on the map, Standing at the Sky’s Edge at the Crucible Theatre, Sheffield, in December.

In 3rd place, another old favourite looking as fresh as the day it was born, the touring production of Rocky Horror Show at the Royal and Derngate, Northampton, in July.

In 2nd place, a stunning production that lifted your heart and was jam-packed with fun, fully deserving its London transfer later this year, Crazy for You at the Festival Theatre, Chichester, in July.

In 1st place, a show that rewrites the rule book for creating a meaningful revival, the spectacular and innovative production of Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

 

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. We saw eighteen new plays this year, and I awarded five stars to ten of them, so this is a tightly fought battle! Here are my top five (with some incredible productions and plays just bubbling under) :

In 5th place, David Hare’s gripping and intelligent look at the life and work of Robert Moses, Straight Line Crazy, at the Bridge Theatre, London, in March.

In 4th place, a deftly structured and wittily written ghost story that terrifies and delights, Danny Robins’ 2:22 A Ghost Story, at the Criterion Theatre, London, in December.

In 3rd place, a truly original staging of a gripping family of refugees fleeing from Afghanistan, The Boy With Two Hearts at the National Theatre Dorfman Theatre in October.

In 2nd place, Anupama Chandrasekhar’s magnificent examination of the assassination of Gandhi, The Father and the Assassin at the National Theatre Olivier Theatre in May.

In 1st place, one of the best new comedies of the century, Steven Moffat’s The Unfriend at the Minerva Theatre, Chichester, in June.

 

Best Revival of a Play.

I saw fourteen revivals, with an obvious top four; here’s the top five:

In 5th place, the RSC’s bold and innovative new production of Shakespeare’s Richard III at the Royal Shakespeare Theatre, Stratford-upon-Avon, in July.

In 4th place, the emotional and powerful production – despite the rain effect – of Arthur Miller’s The Crucible, at the National Theatre Olivier Theatre in October.

In 3rd place, Tom Basden’s brilliant updating of Dario Fo’s hilarious Accidental Death of an Anarchist, at the Tanya Moiseiwitsch Playhouse, Sheffield, in September.

In 2nd place, Dominic Cooke’s outstanding reimagination of Emlyn Williams’ The Corn is Green, at the National Theatre, Lyttelton Theatre, in May.

In 1st place, Anna Mackmin’s pitch-perfect revival of one of Alan Ayckbourn’s most telling comedies, Woman in Mind, at the Festival Theatre, Chichester, in October.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and whilst I was unimpressed with both Sing Yer Heart Out For The Lads and Local Hero at Chichester, by far the worst thing I saw all year was The Sex Party at the Menier Chocolate Factory.

 

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 52 plays in Edinburgh this year, 18 of them got 5* from me, which led to a shortlist of 11, and here are the top 5:

In 5th place, the brilliant thriller with a terrific twist, Closure, written by Faye Draper and produced by Ink and Curtains (Pleasance Courtyard)

In 4th place, full of contemporary relevance and an insight into modern day poverty, About Money, written by Eliza Gearty and produced by 65% Theatre (Summerhall)

In 3rd place, an extraordinary one-man play that leads you down some terrifyingly unexpected alleys, An Audience with Stuart Bagcliffe, written by Benny Ainsworth and produced by Triptych (Zoo Playground)

In 2nd place, the vivid and gripping story of the Hiroshima bombings, The Mistake, written and produced by Michael Mears (The Space on North Bridge)

In 1st place, the play I couldn’t stop talking about for weeks afterwards, the story of a unique relationship, Wilf, written by James Ley and produced by the Traverse Theatre Company (Traverse Theatre)

 

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top five:

In 5th place, Michael Waller for Candy (Underbelly Bristo Square)

In 4th place, Stephen Smith for Dog/Actor (Greenside @ Infirmary Street)

In 3rd place, Michael Parker for An Audience with Stuart Bagcliffe (Zoo Playground)

In 2nd place, Michael Dylan for Wilf (Traverse Theatre)

In 1st place, Samuel Barnett for Feeling Afraid as if Something Terrible is Going to Happen (Summerhall)

 

Best stand-up comedy show – Edinburgh

Eleven shows this year received 5* from me, but here are my top five:

In 5th place, a new name to me, and a brilliant find, Nina Gilligan with her Late Developer show (Just the Tonic at the Tron)

In 4th place, the always brilliant Mary Bourke with her Brutal Truth show (The Stand Comedy Club)

In 3rd place, one of our regular Edinburgh must-sees, Joe Wells with his I Am Autistic show (Banshee Labyrinth)

In 2nd place, on the best form I’ve ever seen him, Hal Cruttenden with his It’s Best You Hear it From Me show (Pleasance Courtyard)

In 1st place, and why have I never seen him before, Mark Thomas with his Black and White show (The Stand Comedy Club)

 

Best of the rest – Edinburgh

Very stiff competition as always, but here are my top five:

In 5th place, the brilliant improvisation that made up Shamilton, produced by Baby Wants Candy (Assembly George Square Studios)

In 4th place, the anarchic mischief of a nightmare club night, Kevin Dewsbury and Bexie Archer in Your Dad’s Mum (Underbelly Bristo Square)

In 3rd place, two complementary productions, Patrick McPherson’s Colossus and again with his twin brother Hugo in Pear (Underbelly Cowgate)

In 2nd place, one of the best sketch shows I’ve ever seen, the brilliant Tarot: Cautionary Tales (Pleasance Courtyard)

In 1st place, the best swansong ever, Colin Hoult’s The Death of Anna Mann (Pleasance Courtyard)

There were a number of contenders for this year’s Edinburgh turkey; Shakespeare for Breakfast was a big let-down due to the change of cast and writing team, but I think the most woeful was the misguided attempt at a League of Gentlemen-type story, Antiques (Greenside @ Nicolson Square)

 

Best Performance by an Actress in a Musical.

Time to get personal. Here’s the top five:

In 5th place, Carly Anderson as Polly in Crazy for You at the Festival Theatre, Chichester, in July.

In 4th place, Me’sha Bryan as Celie in The Color Purple at the Royal and Derngate, Northampton, in October.

In 3rd place, Cleopatra Rey as Rita in Get Up Stand Up at the Lyric Theatre, London, in December.

In 2nd place, Marisha Wallace as Ado Annie in Oklahoma! at the Young Vic, London, in May.

In 1st place, Amy Lennox as Sally Bowles in Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

 

Best Performance by an Actor in a Musical.

Here’s the top five:

In 5th place, Robert Lonsdale as Harry in Standing at the Sky’s Edge at the Crucible Theatre, Sheffield, in December.

In 4th place, Arthur Darvill as Curly in Oklahoma! at the Young Vic, London, in May.

In 3rd place, Fra Fee as Emcee in Cabaret at the Kit Kat Club, at the Playhouse, London, in April.

In 2nd place, David Albury as Bob Marley in Get Up Stand Up at the Lyric Theatre, London, in December.

In 1st place, Charlie Stemp as Bobby in Crazy for You at the Festival Theatre, Chichester, in July.

 

Best Performance by an Actress in a Play.

Eighteen in the rather long shortlist, and here’s the top five:

In 5th place, Frances Barber as Elsa in The Unfriend, Minerva Theatre, Chichester, in June.

In 4th place, Samira Wiley as Angel in Blues for an Alabama Sky, National Theatre, Lyttelton Theatre, in October.

In 3rd place, Monica Dolan as Sister Aloysius in Doubt, at the Festival Theatre, Chichester, in January 2022.

In 2nd place, Nicola Walker as Miss Moffat in The Corn is Green, at the National Theatre, Lyttelton Theatre, in May.

In 1st place, Jenna Russell as Susan in Woman in Mind, at the Festival Theatre, Chichester, in October.

 

Best Performance by an Actor in a Play.

Like last time, this is one of this year’s most hotly contested awards, with seventeen contenders in my shortlist, and here is the top five:

In 5th place, Arthur Hughes as Richard III in Henry VI Rebellion/Wars of the Roses/Richard III, at the Royal Shakespeare Theatre, Stratford-upon-Avon, in May and July.

In 4th place, Simon Russell Beale as Borkman in John Gabriel Borkman, at the Bridge Theatre, London, in  November.

In 3rd place, Ralph Fiennes as Robert Moses in Straight Line Crazy, at the Bridge Theatre, London, in March.

In 2nd place, Shubham Saraf as Godse in The Father and the Assassin, at the National Theatre, Olivier Theatre in May.

In 1st place, Reece Shearsmith as Peter in The Unfriend, Minerva Theatre, Chichester, in June.

 

Congratulations to the winners, commiserations to the losers and thanks for your company again throughout the year, gentle reader. Let’s look forward to a 2023 crammed with theatrical brilliance!

Review of the Year 2020/21 – The Eleventh Annual Chrisparkle Awards

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No one knew when the Committee sat to determine the Tenth Annual Chrisparkle Awards in January 2020 what was to befall us all in the future months. In March 2020 theatregoing ground to a halt, only to resume fifteen months or more later, on a tentative basis. At the moment, no one quite knows what the future looks like in the arts world – all we can do is cross every available digit and hope that we carry on unscathed.

So it is my pleasure to welcome you again to the artistic event of the year, the announcement of the annual Chrisparkle Awards for 2020/21. Adding the first part of 2020 to the second part of 2021 very nearly gives us a full year’s worth of productions to consider. Now, this may be controversial, but I’ve made the executive decision to exclude online performances. I never really got on with the whole online arts scene and didn’t see that many productions, so whilst I know there was a huge amount of talent and effort put in during 2020 to keep the arts alive, I can’t really integrate it into the rest of the awards, so soz about that. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 14th January 2020 to 17th January 2022. Naturally, some awards have had to be withdrawn this year, due to a lack of shows – but we’ll cross that bridge when we come to it.

 

Are you all sitting comfortably?

 

The first award is for Best Dance Production (Contemporary and Classical)

In 2018 the Committee decided to combine all the dance productions seen in the year, both at the Edinburgh Fringe and in other theatres. However, that still only means we saw two shows this year, so I’m simply going to hand this award to Dance to the Music at the Cresset Theatre, Peterborough, in March 2020, the final show in Kristina Rihanoff’s final dance tour.

 

Classical Music Concert of the Year.

Only three concerts attended, all performed by the Royal Philharmonic Orchestra. Again it seems only fair to announce the winner, which is their fantastic From The New World concert at the Royal and Derngate, Northampton, in February 2020, conducted by Kerem Hasan, with Romanian piano soloist Daniel Ciobanu.

 

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Six contenders this year, and here are the top three:

 

In 3rd place, the fun extravaganza that was Pantoland at the Palladium, at (obviously) the London Palladium in December 2021.

In 2nd place, the most entertainment that can possibly be crammed into a pantomime, the legendary Sheffield panto experience that was Sleeping Beauty at the Lyceum Theatre, Sheffield, in January 2022.

In 1st place, the unique theatrical experience that created drama out of verse – T S Eliot’s Four Quartets at the Royal and Derngate, Northampton, in June 2021.

 

Best Star Standup of the Year.

Twelve big-name stand-up comics qualify for this year, and the following five all gave five star performances:

 

In 5th place, the intelligent and extremely funny insight into motherhood by Josie Long in her Tender Show, at the Royal and Derngate, Northampton, in March 2020.

In 4th place, on fantastic form, the brilliant Tez Ilyas in his Vicked Show, Underground at the Royal and Derngate, Northampton, in November 2021.

In 3rd place, the inimitable and irrepressible Sarah Millican in her Bobby Dazzler show, at the Royal and Derngate, Northampton, in November 2021.

In 2nd place, the sunny hilarity of Chris Ramsey in his 20/20 tour, at the Royal and Derngate, Northampton, in September 2021.

In 1st place, always a pleasure to see a true master at work, John Bishop in his Warm Up show at the Royal and Derngate in March 2020.

 

Best Stand-up at the Screaming Blue Murder/Comedy Crate nights in Northampton.

For one year only (I think) the award for Best Screaming Blue Murder comic has also been extended to the Comedy Crate shows that we saw in the garden of the Black Prince in those pandemic summers. Out of countless comics we saw, a longlist of nineteen provided the following top five:

 

In 5th place, the intelligent and brilliant Dan Antopolksi (SBM – February 2020, CC – January 2022)

In 4th place, the sublime and supremely crafted Paul Sinha (CC – September 2021)

In 3rd place, the self-deprecating, but killer punch-lined Bennett Arron (SBM – September 2021)

In 2nd place, the incredible hospital DJ supremo Ivan Brackenbury (CC – September 2021)

In 1st place, the ridiculously funny and inventive thespian Anna Mann (CC – August 2021)

 

In the absence of other opportunities to see comedy festivals or Edinburgh try-outs, the Best of the Rest Stand-up Award is suspended for this year, as are all the Edinburgh Fringe awards.

 

Best Musical.

I saw twelve musicals this year, a combination of new shows and revivals. One stinker, one disappointment, one slightly meh, and the others were all varying degrees of excellent. Here’s my top five.

 

In 5th place, not a show I’m normally fond of, but this was given a terrific new production; Chicago, at the Royal and Derngate, Northampton, in October 2021.

In 4th place, the funny but powerful storytelling of Gin Craze at the Royal and Derngate, Northampton, in July 2021.

In 3rd place, another blistering production that brought new relevance to an old show, South Pacific at the Festival Theatre, Chichester, in August 2021.

In 2nd place, a beautiful show that is a warm breath of positivity and kindness, the brilliant Come From Away at the Phoenix Theatre, London in December 2021.

In 1st place, no surprise really as it is my favourite show of all time, and given a new production with choreography and direction that’s sympathetic to the original, the revival of A Chorus Line at the Curve Theatre, Leicester in December 2021.

 

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. Nine contenders, easy to identify a top five, not so easy to decide the winner.

 

In 5th place, the RSC’s far from perfect but nevertheless fascinating insight into the history of slavery, The Whip, at the Swan Theatre, Stratford-upon-Avon, in February 2020.

In 4th place, a strong play about stage censorship and much more, Indecent at the Menier Chocolate Factory, in September 2021.

In 3rd place, a fresh look at the Courtroom drama genre set in the 18th century, The Welkin at the National Theatre Lyttelton Theatre in January 2020.

In 2nd place, the amazing adaptation of Andrea Levy’s riveting examination of slavery, The Long Song, at the Festival Theatre, Chichester, in October 2021.

In 1st place, the constantly surprising, crammed with mic-drop moments, White Noise, at the Bridge Theatre, London, in October 2021.

 

Best Revival of a Play.

I saw ten revivals, with an obvious top four; here’s the top five:

 

In 5th place, the inaugural production by the Nigel Havers Theatre Company, Noel Coward’s ever-youthful Private Lives at the Festival Theatre, Chichester, in November 2021.

In 4th place, the clear and classy production of Blue/Orange at the Royal and Derngate, Northampton, in November 2021.

In 3rd place, Greg Hersov’s gripping and relevant production of Shakespeare’s Hamlet at the Young Vic, London, in October 2021.

In 2nd place, the emotional and telling production of The Normal Heart, at the National Theatre Olivier Theatre, London, in October 2021.

In 1st place, the mesmerising production of Samuel Beckett’s Rough for Theatre II and Endgame at the Old Vic, London, in February 2020.

 

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and my biggest disappointment was the RSC’s The Magician’s Elephant in November 2021, which, like the lift that stops on every floor you don’t want it to, was wrong on so many levels.

 

Best Local Production

This would normally include the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections. However, I only saw three shows that come under this heading, the three plays that were performed at the Royal and Derngate Northampton by the Third Year University Students in May 2021 – and the best of those was Loveplay.

 

Best Performance by an Actress in a Musical.

Time to get personal. Here’s the top five:

In 5th place, Faye Brookes as Roxie in Chicago at the Royal and Derngate, Northampton, in October 2021.

In 4th place, Lizzy-Rose Esin-Kelly as Diana in A Chorus Line at the Curve Theatre, Leicester in December 2021.

In 3rd place, Debbie Chazen as Moll and Queen Caroline in Gin Craze at the Royal and Derngate, Northampton in July 2021.

In 2nd place, Carly Mercedes-Dyer as Cassie in A Chorus Line at the Curve Theatre, Leicester in December 2021.

In 1st place, Alex Young as Nellie in South Pacific at the Festival Theatre, Chichester in August 2021.

 

Best Performance by an Actor in a Musical.

Eight performances in the shortlist, producing this top five:

In 5th place, Samuel Holmes as Christopher Belling in Curtains at the Royal and Derngate, Northampton, in February 2020.

In 4th place, Miles Western as Bernadette in Priscilla Queen of the Desert at the Royal and Derngate, Northampton, in August 2021.

In 3rd place, Rob Houchen as Cable in South Pacific at the Festival Theatre, Chichester in August 2021.

In 2nd place, Julian Ovenden as Emile in South Pacific at the Festival Theatre, Chichester in August 2021.

In 1st place, Layton Williams as Jamie in Everybody’s Talking About Jamie at the Royal and Derngate, Northampton, in March 2020.

 

Best Performance by an Actress in a Play.

Eleven in the shortlist, and here’s the top five:

In 5th place, Tara Fitzgerald as Gertrude in Hamlet, at the Young Vic, London, in October 2021.

In 4th place, Maxine Peake as Elizabeth Luke in The Welkin, at the National Theatre, Lyttelton Theatre London in January 2020.

In 3rd place, Tara Tijani as Young July in The Long Song, at the Festival Theatre, Chichester, in October 2021.

In 2nd place, Cush Jumbo as Hamlet in Hamlet, at the Young Vic, London, in October 2021.

In 1st place, Llewella Gideon as Old July in The Long Song, at the Festival Theatre, Chichester, in October 2021.

 

Best Performance by an Actor in a Play.

Like last time, this is this year’s most hotly contested award, with fifteen contenders in my shortlist, and here is the top five:

In 5th place, Ben Daniels as Ned in The Normal Heart, at the National Theatre Olivier Theatre, London, in October 2021.

In 4th place, Michael Balogun as Christopher in Blue/Orange at the Royal and Derngate, Northampton, in November 2021.

In 3rd place, Ken Nwosu as Leo in White Noise, at the Bridge Theatre, London, in October 2021.

In 2nd place, Alan Cumming as B/Hamm in Rough for Theatre II and Endgame at the Old Vic, London, in February 2020.

In 1st place, Daniel Radcliffe as A/Clov in Rough for Theatre II and Endgame at the Old Vic, London, in February 2020.

 

Theatre of the Year.

I normally nominate a Theatre of the Year but I think in this pandemic/post-pandemic era, every theatre that mounted a production is a winner!

Congratulations to all the winners and nominees – and thanks for sticking with me, gentle reader. Hopefully 2022 will be a full and exciting programme of stage success!

Review of the Decade 2010-2019

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Yes, I know that strictly speaking the decade doesn’t finish until 31st December 2020, but I’ve been banging out this blog for ten years now so it seemed appropriate to add a further stack of celebratory awards to those I dished out a short time ago. Who would have foreseen that from 1st January 2010 to 31st December 2019 I would have seen 1,248 live productions, and reviewed about 99% of them? No wonder my fingers are hurting.

So it is my absolute pleasure to revisit the Chrisparkle Award holders of the past ten years, to celebrate their work and, invidiously, to come up with Decade Awards for each category – which, as I’m sure you’ll appreciate, is the Highest Honour the Committee Can Bestow. I’m sure if any of the following double-winners were to prove their success by printing off the details, they’d be entitled to at least a 10% discount in Pizza Express. So it’s not to be sneezed at.

I’ll keep the Awards in the traditional order, so we’ll start with Best Dance Production.

Over the decade I’ve seen 69 dance productions; but the individual annual winners have been from a select group of performers. Les Ballets Trockadero de Monte Carlo won once, Matthew Bourne’s Swan Lake has won three times, and the Richard Alston Dance Company has won six times. Pretty solid and consistent work there!

How do you compare those three companies/dances, each at their finest? Skill? You can take that for granted. Sheer enjoyment? Each is fantastically enjoyable in their own way, and I don’t see a way of comparing along those lines. So I consulted Mrs Chrisparkle, and her suggestion was to compare one’s emotional response to each. She’s a wise woman, and no mistake. Therefore, and taking each winning performance separately, the top three performances were:

In 3rd place, Richard Alston Dance Company, Royal and Derngate, Northampton, 4th October 2016

In 2nd place, Les Ballets Trockadero de Monte Carlo, Milton Keynes Theatre, 23rd March 2011

And the winner is: Matthew Bourne’s Swan Lake, Milton Keynes Theatre, 4th February 2010

Swan Lake

Possibly one of the most difficult awards to judge has been our next category, Best Classical Music Concert. From the 50 concerts I’ve seen over the years, by far the majority of which were performed by the Royal Philharmonic Orchestra, they in fact won nine of the ten annual awards, with 2015’s award going to the Worthing Symphony Orchestra for that year’s Malcolm Arnold Festival Gala. How do these individual concerts shape up as far as the Decade Award is concerned?

In 3rd place, Alexander Shelley Conducts Scheherazade, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 14th April 2013

In 2nd place, Jan Mráček Performs Mendelssohn, Royal Philharmonic Orchestra, Royal and Derngate, Northampton, 18th June 2017

And the winner is: Royal Philharmonic Orchestra, Nigel Kennedy plays Brahms, Royal and Derngate, Northampton, 2nd June 2012

Nigel Kennedy plays Brahms

Now we come to the award for Best Entertainment Show of the Decade. You know what an Entertainment show is? It’s anything that doesn’t fall into any of the other categories. Over the past ten years we’ve seen 80 such productions and they’re a wide range of shows, so comparisons are onerous as well as odious. However, it’s interesting to see that of the ten award winners, two were Palladium pantos, two were Sheffield pantos, two were regular Burlesque Shows at the Royal and Derngate, one was a Strictly spin-off, one a mime artist, one a spoof comedy-musical, and the last was a celebration of Stephen Sondheim’s 80th birthday! Let’s see who wins:

In 3rd place, The Boy With Tape On His Face is Tape Face, Royal and Derngate, Northampton, 7th November 2016

In 2nd place, Dick Whittington, London Palladium, 29th December 2017

And the winner is: Forbidden Broadway, Menier Chocolate Factory, 27th July 2014

Forbidden Broadway

Next is a Big One, so to speak, it’s the Decade Award for the Best Star Standup. Since 1st January 2010 I have seen and written about 301 comedy shows – not just star standups, but also Screaming Blue Murders, comedians at Edinburgh, Leicester and elsewhere. That’s a lot of laughter. The annual award was introduced in 2011, so we have nine previous champions contending for the title – eight, actually, as Dara O’Briain has won twice. So here goes with these awards:

In 3rd place, Sarah Millican, Outsider, Royal and Derngate, Northampton, 2nd July 2016

In 2nd place, Rob Beckett, Wallop, Royal and Derngate, Northampton, 3rd October 2019

And the winner is: Marcus Brigstocke, Devil May Care, Royal and Derngate, Northampton, 31st October 2018

marcus-brigstocke-devil-may-care

And now on a more local level, here’s the Decade Award for the Best Screaming Blue Murder Standup. Our regular Friday (occasionally venturing into Saturday) evening comedy club at the Royal and Derngate continues to go from strength to strength and it’s very rare that a show isn’t sold out. We have seen some incredible comics there over the years, and I am delighted to announce the following gigs were the best we enjoyed:

In 3rd place, Paul Sinha, 2nd March 2012

In 2nd place, Daliso Chaponda, 28th April 2017

And the winner is: Markus Birdman, 8th November 2013

Markus Birdman

For the past three years there has been a Best of the Rest Standup Award – for performances from the Leicester Comedy Festival, Upfront Comedy clubs, Comedy Crate Edinburgh Fringe Previews and so on. Happy to announce that the Decade Award (although it should really be called the Three Year Award) goes to the extraordinary show that was: Just The Tonic Comedy Club with Johnny Vegas, Leicester Comedy Festival, Hansom Hall, Leicester, 25th February 2017

johnny-vegas

Time for another Biggie; the Decade Award for Best Musical. Please cut me some slack here, gentle reader. My favourite musical of all time, was, is and always will be A Chorus Line, and there was a terrific revival of it at the London Palladium in 2013. So, if I’m true to my word, that should win the Decade Award and the Best Actor Awards should probably go to its cast members. However, somehow, it’s not so straightforward. Over the past ten years I’ve seen 135 productions of musicals, and I’d like other shows to share in the glory. So, if you’re agreeable, I’d like to share this award between A Chorus Line and another show. Even if you aren’t agreeable, I’m still going to do it.

In the interests of giving everyone a fair crack of the whip, I’ve also separated the category into Best New Musical and Best Revival of a Musical, which is where we start:

In 3rd place, Half A Sixpence, Noel Coward Theatre, 29th December 2016

In 2nd place, Company, Gielgud Theatre, 2nd February 2019

And the winner is: A Chorus Line/My Fair Lady, Sheffield Crucible, 5th January 2013

A Chorus LineMy Fair Lady

And for Best New Musical of the Decade:

In 3rd place, Bend It Like Beckham, Phoenix Theatre, 10th February 2016

In 2nd place, The Book of Mormon, Prince of Wales Theatre, 2nd March 2013

And the winner is: Hamilton, Victoria Palace Theatre, 8th December 2018

Hamilton

Now it’s time for the Best New Play of the Decade. Over the past ten years, I’ve seen a whopping 557 plays, both new and old. As you can imagine, there’s plenty of stiff competition for these awards.

In 3rd place, The Curious Incident of the Dog in the Night-Time, Derngate, Northampton, 24th March 2015

In 2nd place, The Lehman Trilogy, Piccadilly Theatre, 25th May 2019

And the winner is: One Man Two Guvnors, New Alexandra Theatre, Birmingham, 22nd October 2011

One Man Two Guvnors

Equally difficult to choose, here’s the top three for the Best Revival of a Play – Decade Award.

In 3rd place, A Midsummer Night’s Dream, Bridge Theatre, 13th July 2019

In 2nd place, King Lear, Minerva Theatre, Chichester, 6th October 2017

And the winner is: The Bacchae, Royal and Derngate at Northampton Chronicle and Echo Print Works, 16th June 2012

The Bacchae

Let’s head further north for the next few Awards and consider those plucky performers at the Edinburgh Festival Fringe. Edinburgh Awards were introduced in 2014, and since then I’ve seen 266 Edinburgh Fringe performances. Let’s consider the first Award – Best Play of the Decade (well, six years):

In 3rd place, Trainspotting, In Your Face Theatre, 8th August 2014

In 2nd place, Us/Them, BRONKS, 25th August 2016

And the winner is: My Mate Dave Died, Sheffield University Theatre Company, 23rd August 2018</A>

My Mate Dave - scene

And now it’s the Best Individual Performance in an Edinburgh Fringe Play –

In 3rd place, Chris Duffy, Fear No Colours, Tonight with Donny Stixx, 21st August 2018

In 2nd place, David Carl. Project Y, Trump Lear, 21st August 2019

And the winner is: Sam Redway, Knaive Theatre, Bin Laden: The One Man Show, 21st August 2017

Screenshot (1)

For the Best stand-up comedy show in Edinburgh Award, for four of the five years, the annual Award went to Spank!, with Olaf Falafel’s There’s No I in Idiot just edging it for 2018. So I’m simply going to award the Decade honour to Spank!, and in honour of many happy revisits to that grimy den in the Underbelly Cowgate, here’s a link to our first visit, which encouraged us to keep going!

Spank

Carrying on, now it’s the Decade Award for Best Of The Rest in Edinburgh:

In 3rd place, The Lost Musical Works of Willy Shakes, 20th August 2019

In 2nd place, Garry Starr Performs Everything, 24th August 2018

And the winner is: Margaret Thatcher, Queen of Soho, 9th August 2014

Margaret Thatcher Queen of Soho

Best Local Production – which, in fact, equates to the Best University of Northampton Acting/Acting and Creative Students productions over the past four years; the honour goes to Blue Stockings, University of Northampton BA (Hons) Acting, Royal and Derngate, Northampton, 17th March 2016

Blue Stockings

Now it’s time to get personal again, and consider the best performances of the decade. First, Best Performance by an Actress in a Musical. And the top three are:

In 3rd place, Sheridan Smith in Funny Girl, Menier Chocolate Factory, 28th February 2016

In 2nd place, Rosalie Craig in Company, Gielgud Theatre, 2nd February 2019

And the winner is: Imelda Staunton in Gypsy, Chichester Festival Theatre, 11th October 2014

Imelda Staunton as Rose

Now for the guys, Best Performance by an Actor in a Musical this Decade. The top three are:

In 3rd place, Dominic West in My Fair Lady, Sheffield Crucible, 5th January 2013

In 2nd place, John Partridge in La Cage Aux Folles, Milton Keynes Theatre, 12th August 2017

And the winner is: Charlie Stemp in Half A Sixpence, Noel Coward Theatre, 29th December 2016

charlie-stemp

Moving on – the end is in sight, ladies and gentlemen – Best Performance by an Actress in a Play this Decade.

In 3rd place, Penelope Wilton in Taken At Midnight, Minerva Theatre, Chichester, 11th October 2014

In 2nd place, Tracie Bennett in End of the Rainbow, Royal and Derngate Northampton, 18th February 2010

And the winner is: Dame Maggie Smith in A German Life, Bridge Theatre, 4th May 2019

A German Life

And finally, Best Performance by an Actor in a Play this Decade (and they’re all Shakespearean roles which possibly says more about me than them!):

In 3rd place, Tom Mothersdale in Richard III, Royal and Derngate, Northampton, 24th May 2019

In 2nd place, Derek Jacobi in King Lear, Donmar Warehouse Tour, Milton Keynes Theatre, 16th March 2011

And the winner is: Paapa Essiedu in Hamlet, Royal Shakespeare Company on tour at the Royal and Derngate, Northampton, 3rd March 2018

Hamletprod8

Thanks, gentle reader, for supporting and following my blog reviews. Here’s to the next decade!

Review of the Year 2019 – The Tenth Annual Chrisparkle Awards

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Welcome once more to the artistic event of the year, that is the announcement of the annual Chrisparkle Awards for 2019. The whole team has diligently assessed each and every eligible performance (i.e. I’ve sorted through my spreadsheet) to create longlists then shortlists and then finally the ultimate prize for some worthy exponents of their arts. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 8th January 2019 to 13th January 2020.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

In 2018 the Committee decided to combine all the dance productions seen in the year, both at the Edinburgh Fringe and in other theatres, and again we have decided to continue this practice. That gives us eight shows to consider, and, as always, it’s been remarkably difficult to come to a conclusion.

In 3rd place, the beautiful and elegant Snow Maiden, as performed by the Russian State Ballet of Siberia at the Royal and Derngate, Northampton, in January 2019.

In 2nd place, the strength and artistry of the Balletboyz in Them/Us at the Royal and Derngate, Northampton, in March.

In 1st place, on their Farewell Tour, a superb programme by the Richard Alston Dance Company at the Royal and Derngate, Northampton, in October.

Classical Music Concert of the Year.

In very poor form on our part, we only managed to see three classical concerts in 2019, so it seems only fair just to announce the winner. And that is:

The enjoyable, crowd-pleasing but occasionally challenging programme in The Beauty of Tchaikovsky, performed by the Royal Philharmonic Orchestra at the Royal and Derngate, Northampton, in September.

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Seven contenders this year, and here are the top three:

In 3rd place, the fascinating multimedia lecture by Mark Lewisohn to commemorate fifty years since the release of the Abbey Road album, The Beatles: Hornsey Road, at the Royal and Derngate, Northampton in September.

In 2nd place, not really a pantomime but a Las Vegas-style variety act with more filth than you poke a stick at, Goldilocks and the Three Bears at the London Palladium in December.

In 1st place, a true pantomime that brought out all the stops and had one of the funniest scripts I’ve ever seen, the magic that was Cinderella at the Lyceum Theatre, Sheffield, in January 2020.

Best Star Standup of the Year.

Ten big-name stand-up comics qualify for this year, but it’s slightly easier than last year as a few of them under-delivered in their shows. Nevertheless, I still need a top five:

In 5th place, the understated, intelligent and emotional material of Rob Auton in his Talk Show, Underground at the Royal and Derngate, Northampton, in May.

In 4th place, the reflective and honest humour of Chris McCausland in his Speaking Blinder tour, together with excellent support from Jon Long, Underground at the Royal and Derngate, Northampton, in June.

In 3rd place, the brilliantly funny local lad Andrew Bird in the last night of his Ha Ha Time show, Underground at the Royal and Derngate, Northampton, in April.

In 2nd place, and a previous winner of the Best Star stand-up award, the manic and energetic hilarity of Russell Kane in his The Fast and The Curious tour, at the Royal and Derngate, Northampton, in October.

In 1st place, someone who made me laugh so much that my chest physically hurt for hours afterwards, Rob Beckett in his Wallop show at the Royal and Derngate in October.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

It’s been another great year of Screaming Blue Murder nights; from a long shortlist of twelve comics here are the top five:

In 5th place, soaring the heights of surreal hilarity, Harriet Dyer (4th October)

In 4th place, with an amazing gift for incorporating all the facts about audience members in his act, David Ward (27th September)

In 3rd place, the wonderfully faux-strict Mary Bourke (31st May)

In 2nd place, new to me, the fabulous wordplay of Mark Simmons (31st May)

In 1st place, on the best form I’ve seen him in ages, the incomparable Russell Hicks (22nd November)

Two years ago, the Committee introduced a new category – the Best of the Rest Stand-up Award, to take into account comedy acts seen at other locations, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations. However, this year we only saw a handful of additional comedy acts, at the Leicester Comedy Festival, so I’m just going to nominate a runner-up and a winner.

In 2nd place, Roisin O’Mahony and Chiara Goldsmith with their marvellously anarchic Edinburgh show from last year, Back to Back, at the Apres Lounge in February.

In 1st place, the comedy genius of being an agnostic teaching Religious Studies, the brilliant Kevin Precious in his Unholier than Thou, Upstairs at Kayal, in February.

Best Musical.

I saw thirteen musicals this year – a couple of which I went back to watch again, they were so good – so it was a tough choice to come up with a top five. But I did it!

In 5th place, and only watched it last week, the delightful revival of Sandy Wilson’s The Boy Friend, at the Menier Chocolate Factory, London, in January 2020.

In 4th place, another recent memory, the smart and slick revival of Guys and Dolls at the Crucible Theatre, Sheffield, in January 2020.

In 3rd place, the surprisingly hard-hitting but absolutely superb revival of Oklahoma! at the Festival Theatre, Chichester, in July.

In 2nd place, it divided the critics, but I absolutely loved it so that I had to go again – and definitely the finest performance from a theatre orchestra in years – the revival of Man of La Mancha at the London Coliseum in May.

In 1st place, the other production that I had to see twice, and could easily have gone back yet again, the stunningly inventive and rewarding revival of Stephen Sondheim’s Company at the Gielgud Theatre, London in February.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. As I’ve looked back over the year’s drama, it became clear that this was an extraordinarily good year for most of the plays we’ve seen, and whittling the 19 possibles this year to a top five has been very difficult indeed. But here goes:

In 5th place, Alexis Michalik’s hilarious examination of how Cyrano de Bergerac was created, Edmond de Bergerac, at the Royal and Derngate, Northampton, in April.

In 4th place, Katori Hall’s riveting modern classic, Our Lady of Kibeho, at the Royal and Derngate, Northampton, in January 2019.

In 3rd place, Anthony McCarten’s finely written and beautifully acted The Pope, at the Royal and Derngate, Northampton, in June.

In 2nd place, Laura Wade’s anarchic and compellingly hilarious The Watsons, at the Menier Chocolate Factory, London, in October.

In 1st place, the wide-ranging, character-driven and utterly fantastic The Lehman Brothers, at the Piccadilly Theatre, London, in May.

Best Revival of a Play.

I saw twenty-two revivals, with a shortlist of eight, and here’s the top five:

In 5th place, the hilarious yet savagely telling production of The Provoked Wife by the RSC in Stratford in May.

In 4th place, the superbly staged and performed double bill of Party Night and Celebration, also known as Pinter Six, as part of the Pinter at the Pinter Season, at the Harold Pinter Theatre, London, in January 2019.

In 3rd place, Headlong’s witty and revealing production of Shakespeare’s Richard III, at the Royal and Derngate, Northampton, in May.

In 2nd place, the gripping, sad, and mesmeric production of Arthur Miller’s Death of a Salesman, at the Young Vic, London, in July.

In 1st place, the simply magnificent promenade production of A Midsummer Night’s Dream at the Bridge Theatre, London, in July.

As always, in the post-Christmas season, it’s time to consider the turkey of the year – and my biggest disappointment was the lame and rather unoriginal production of Caroline’s Kitchen at the Royal and Derngate, Northampton, in February.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 22 plays in Edinburgh this year, and here are the top 5:

In 5th place, the cleverly written and smartly performed The Good Scout, produced by Boys of the Empire Productions (The Space @ Surgeon’s Hall)

In 4th place, the hilarious and beautifully realised Noir Hamlet, produced by Yasplz (The Space @ Niddry Street)

In 3rd place, David Carl’s amazing political satire, Trump Lear (Pleasance Courtyard)

In 2nd place, Marcus Brigstocke’s incredibly satisfying exploration of addiction, The Red (Pleasance Dome)

In 1st place, by turns hilarious and horrifying, the backwards exploration of a disastrous relationship, I Lost My Virginity to Chopin’s Nocturne in B-Flat Minor (Pleasance Courtyard)

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

In 3rd place, Craig MacArthur for Marrow (The Space @ Surgeon’s Hall)

In 2nd place, Javaad Alipoor for The Believers are but Brothers (Assembly George Square Studios)

In 1st place, David Carl for Trump Lear (Pleasance Courtyard)

Best stand-up comedy show – Edinburgh

Ten shows this year gives this top three:

In 3rd place, as last year, the best late-night comedy concatenation you’ll get in Edinburgh, Spank! (Underbelly Cowgate)

In 2nd place, last year’s winner returning with another ecstatically stupid and delightful show, Olaf Falafel – Knitting with Maracas (Laughing Horse @ The Pear Tree)

In 1st place, had heard so much about him, and every word is true – Ahir Shah: Dots (Monkey Barrell Comedy)

Best of the rest – Edinburgh

Very stiff competition this year means that a few great shows don’t make it to the top five:

In 5th place, the sharp, funny and sexy circus cabaret, Atomic Saloon Show (Assembly George Square Gardens)

In 4th place, back for another madcap, anarchic and simply hysterical show, Garry Starr Conquers Troy (Underbelly Cowgate)

In 3rd place, as last year, an absolute pun-fest version of Romeo and Juliet with Shakespeare for Breakfast (C Venues, C Viva)

In 2nd place, also as last year but without his Camels companion, the emotional but hilarious rollercoaster that is The Man, by Patrick McPherson (Underbelly Bristo Square)

In 1st place, one of those unexpected Edinburgh delights that filled you with unadulterated joy from start to finish – The Lost Musical Works of Willy Shakes (Assembly Rooms)

This year’s Edinburgh turkey, which somehow was a sell-out, was the cack-handed, under-rehearsed rubbish that was Come Dine with Mr Shakespeare (The Space on North Bridge)

Best Local Production

This would normally include the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections. Apart from one show, again I only saw productions by the University students, so expect them to figure highly in the Awards!

In 5th place, from the Flash Festival, Not Aloud Ensemble’s important and beautifully performed Leviticus.

In 4th place, from the Fringe Festival, Rosemarie Sheach’s heartwarming and upbeat Can’t Quite Hit It.

In 3rd place, also from the Flash Festival, Workbench Theatre Company’s witty and character-driven production of Rise.

In 2nd place, again from the Flash Festival, Grapevine Theatre Company’s moving and memorable production of The Cost of Freedom.

In 1st place, from the Flash Festival, and because it is so hard to perform comedy well and this was well-thought out and brilliantly executed, Framed Ensemble’s hilarious production of Oh Arthur.

Best Performance by an Actress in a Musical.

Time to get personal. Ten in the shortlist, having eliminated some extraordinarily good performances but here’s the top five:

In 5th place, Alex Young as Sarah Brown in Guys and Dolls at the Crucible Theatre, Sheffield, in January 2020.

In 4th place, Zizi Strallen as Mary Poppins in Mary Poppins at the Prince Edward Theatre, London in November.

In 3rd place, Tracie Bennett as Mame Dennis in Mame at the Royal and Derngate, Northampton in January 2020.

In 2nd place, Patti LuPone as Joanne in Company at the Gielgud Theatre, London in February.

In 1st place, Rosalie Craig as Bobbie in Company at the Gielgud Theatre, London in February.

Best Performance by an Actor in a Musical.

Nine performances in the shortlist, producing this top five:

In 5th place, Alex Cardall as Dougal in The Season at the Royal and Derngate, Northampton, in November.

In 4th place, a star is born, young Toby Mocrei as Dennis in The Boy in the Dress at the Royal Shakespeare Theare, Stratford-upon-Avon, in November.

In 3rd place, Hyoie O’Grady as Curly in Oklahoma! at the Festival Theatre, Chichester, in July.

In 2nd place, Richard Fleeshman as Andy in Company at the Gielgud Theatre, London in February.

In 1st place, Jonathan Bailey as Jamie in Company at the Gielgud Theatre, London in February.

Best Performance by an Actress in a Play.

Eleven in the shortlist, and here’s the top five:

In 5th place, Caroline Quentin as Lady Fancyfull in The Provoked Wife, at the Swan Theatre, Stratford-upon-Avon, in May.

In 4th place, Sharon D Clarke as Linda in Death of a Salesman, at the Young Vic, London in July.

In 3rd place, Joanne Froggatt as Frances in Alys Always, at the Bridge Theatre, London, in March.

In 2nd place, Penelope Wilton as Valentina in The Bay at Nice, at the Menier Chocolate Factory, London, in April.

In 1st place, Dame Maggie Smith as Brunhilde in A German Life, at the Bridge Theatre, London, in May.

Best Performance by an Actor in a Play.

This year’s most hotly contested award, with an amazing seventeen contenders in my shortlist, and many superb performances bubbling under, but here is the top five:

In 5th place, Simon Russell Beale as Henry (and many other characters) in The Lehman Trilogy at the Piccadilly Theatre, London, in May.

In 4th place, Hammed Animashaun as Bottom in A Midsummer Night’s Dream, at the Bridge Theatre, London, in July.

In 3rd place, Anton Lesser as Pope Benedict in The Pope, at the Royal and Derngate, Northampton, in June.

In 2nd place, Wendell Pierce as Willy Loman in Death of a Salesman at the Young Vic, London, in July.

In 1st place, Tom Mothersdale as Richard III in Richard III, at the Royal and Derngate, Northampton in May.

Theatre of the Year.

For the fifth year running there’s no change in the Number one theatre but once again we have a new Number two! Continuing to present an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with London’s Bridge Theatre as runner-up.

I saw 183 productions in 2019, up on 2018’s numbers but still not as many as 2017. Thank you gentle reader for continuing to read my theatre reviews and for all your support. Already looking forward to another wonderful year of theatre in 2020!

And coming up very soon – the Chrisparkle Decade Awards! The best of the shows and performances from 2010 – 2019. The ultimate accolade!

Review of the Year 2018 – The Ninth Annual Chrisparkle Awards

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Welcome again to the glittering excitement that is the announcement of this year’s annual Chrisparkle Awards. The whole team has diligently assessed each and every eligible performance (i.e. I’ve thought hard about them) to create longlists then shortlists and then finally the ultimate prize for some splendid practitioners of their arts. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 11th January 2018 to 7th January 2019.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

Last year the Committee decided to combine all the dance productions seen in the year, both at the Edinburgh Fringe and in other theatres, and this year we have decided to continue this practice. That gives us seven shows to consider, and it’s been remarkably difficult to come to a conclusion, but we have.

In 3rd place, the two hilarious and skilful programmes that made up the triumphant return of Les Ballets Trockadero de Monte Carlo (The Trocks to you and me) at the Peacock Theatre, London, in September.

In 2nd place, the immaculate and riveting performances of the dancers from the Richard Alston Dance Company at the Royal and Derngate, Northampton, in October.

In 1st place, never failing to hit the mark on technique, emotion and sheer entertainment, Matthew Bourne’s Swan Lake at Sadler’s Wells, London, in December.

Classical Music Concert of the Year.

We only managed five classical concerts in 2018 but the quality was, as usual, excellent, so it was extremely difficult to whittle it down to a top three. Nevertheless, the Committee insisted, so here goes:

In 3rd place, Alan Buribayev Conducts Chopin, with an exciting programme of Czech, Polish and Finnish music including Chopin’s Piano Concerto No 2 in F Minor played by Alexander Romanovsky, and the Royal Philharmonic Orchestra, at the Royal and Derngate, Northampton, in April.

In 2nd place, Michael Petrov Performs Tchaikovsky, including a magical performance of Mendelssohn’s Symphony No 4 in A Major, and Michael Petrov giving us a spellbinding performance of Tchaikovsky’s Variations on a Rococo Theme, with the Royal Philharmonic Orchestra conducted by Rory Macdonald, at the Royal and Derngate, in February.

In 1st place, A Night at the Ballet, a superb programme of ballet music including Delibes’ Sylvia Suite and Saint-Saens’ Danse Macabre, with Nathan Fifield conducting the Royal Philharmonic Orchestra, at the Royal and Derngate, in June. A clean sweep for the RPO!

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Very few contenders this year, and it looks remarkably like last year’s awards, but here’s the top three:

In 3rd place, the unstoppable Damian Williams starring in Peter Pan at the Lyceum Theatre in Sheffield in January 2019.

In 2nd place, the humour-enhanced reincarnation of the Burlesque Show at the Royal and Derngate, Northampton in January 2018.

In 1st place, the utter filth and pure showbiz hilarity of Snow White at the London Palladium in December.

Best Star Standup of the Year.

Eight big-name stand-up comics qualify for this year, and it’s very difficult to judge because they were all excellent in their own way, so I can only rank them in the order that I enjoyed their show. I only listed a top three last year but this time I need a top five:

In 5th place, the beautifully constructed and thought provoking Choose Your Battles tour from Lucy Porter, Underground at the Royal and Derngate, Northampton, in April.

In 4th place, the fearless use of a range of awkward subjects brilliantly mixed up by Paul Chowdhry in his Live Innit tour, at the Royal and Derngate, Northampton, in March.

In 3rd place, the quirkily intellectual and extremely clever Total Eclipse of Descartes tour by Rob Newman, at the Royal and Derngate, Northampton, in November.

In 2nd place, and the winner of last year’s best Screaming Blue stand-up, the sheer delight of Daliso Chaponda and his What The African Said tour, at the Royal and Derngate, Northampton, in February.

In 1st place, on unbeatable form, the fantastic Devil May Care tour by Marcus Brigstocke, at the Royal and Derngate in October.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

It’s been a great year of Screaming Blue Murder nights; a longlist of seventeen comics brought forward a shortlist of seven and here are the top five:

In 5th place, hilarious and outrageous as always, Robert White (28th September)

In 4th place, for his ability to invest a room with such sheer happiness, Jonny Awsum (13th April)

In 3rd place, always expect the unexpected with the extraordinary Russell Hicks (16th February)

In 2nd place, a new name to me and a superb talent with refreshing material, Stefano Paolini (12th October)

In 1st place, again, a first timer at Screaming Blue (I believe) but what a gifted way of weaving comedy magic out of some tough material, Sean Meo (14th September)

Last year, the Committee introduced a new category; as we continue to see so many stand-up comedy acts in other clubs, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations, here’s the Best of the Rest Stand-up Award. Again, a long longlist of nineteen was whittled down to a shortlist of ten, and here’s the top five:

In 5th place, the sheer professionalism and endless inventiveness of Patrick Monahan, in the Edinburgh Try-out of his show, Goals, at the Comedy Crate Festival, Black Prince, Northampton in July.

In 4th place, the fantastic delivery and fresh material of Drew Fraser (Upfront Comedy) at the Royal and Derngate, Northampton, in November.

In 3rd place, the musical madness and effervescence of Friz Frizzle, Song Ruiner (Leicester Comedy Festival, Late Night Jokes On Us, Manhattan 34 Bar, Leicester) in February.

In 2nd place, the fantastic comedy character creation that is Barbara Nice (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

In 1st place, a solid gold discovery of great confident delivery and material, Kane Brown (Upfront Comedy Slam) at the Royal and Derngate, Northampton, in February.

Best Musical.

I saw seventeen musicals this year, and only – perhaps – three weren’t really up to scratch. So that meant it was a tough choice to come up with a top five. But I did it!

In 5th place, and still very fresh in the memory, the superb production of Kiss Me Kate at the Crucible Theatre, Sheffield, in January 2019.

In 4th place, the invigorating and hugely emotional revival of Barnum, at the Menier Chocolate Factory, London, in February.

In 3rd place, the stunningly technological revival of Chess at the London Coliseum that we saw in May.

In 2nd place, the visually and musically overpowering experience that is the new look Les Miserables, at the Curve Theatre Leicester, in November.

In 1st place, believe the hype, it simply blew us both away; Hamilton at the Victoria Palace Theatre, London in December.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. I’ve seen 14 such plays this year; one of which we left at the interval, but most of the rest were very good indeed. Here’s my top five:

In 5th place, Alan Bennett’s quirky, funny and sad examination of the current state of the NHS in Allelujah, at the Bridge Theatre, London in July.

In 4th place, the very challenging and in many ways absolutely bonkers A Very Very Very Dark Matter, at the Bridge Theatre, London, in October.

In 3rd place, a production which most other people didn’t seem to appreciate but I thought was masterful in so many ways, Kiss of the Spider Woman at the Menier Chocolate Factory, London, in March.

In 2nd place, the abstract, fanciful, and totally adorable, Flying Lovers of Vitebsk, at the Royal and Derngate, Northampton, in April.

In 1st place, the heart-stopping, tragic, hilarious and exciting The Lovely Bones, at the Royal and Derngate, Northampton, in October.

Best Revival of a Play.

I saw twenty revivals, the majority of which were absolute smashers. Eight made the shortlist; here’s the top five:

In 5th place, the immaculate characterisation and brilliantly realised humour of The Merry Wives of Windsor by the RSC in Stratford in August.

In 4th place, the powerful performances and clarity of story-telling of Timon of Athens, by the RSC in Stratford in December.

In 3rd place, the brilliantly clever updating of Tartuffe by the RSC in Stratford in September.

In 2nd place, the eye-opening and redefining version of Hamlet by the RSC touring to the Royal and Derngate, Northampton, in February.

In 1st place, the fabulously funny and joyful revival of The Fantastic Follies of Mrs Rich, by the RSC in Stratford in April.

A clean sweep for the RSC is pretty amazing! However, as always, in the post-Christmas season, time to consider the turkey of the year – and my biggest disappointment was the tedious and generally pointless production of Macbeth, also by the RSC in Stratford in April.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 20 plays in Edinburgh, and here are the top 5:

In 5th place, the individual tour-de-force of and by Alison Skilbeck in Are There More of You? (Assembly Hall)

In 4th place, another gripping solo performance in Fear No Colours’ Tonight with Donny Stixx (The Space @ Jury’s Inn)

In 3rd place, the very funny and beautifully written Gayface, written by Chet Wilson (The Space on North Bridge)

In 2nd place, the anarchic and hilarious Holy Sh*t by Jack Fairhurst (Paradise in the Vault)

In 1st place, the play that had us in stitches for the first 75% and then tears for the rest of it, Sheffield University Theatre Company’s incredible My Mate Dave Died by Mike Alexander (Greenside @ Infirmary Street)

Best Individual Performance in a Play – Edinburgh

As always, a really hard one to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

In 3rd place, Wilf Walsworth for My Mate Dave Died (Greenside @ Infirmary Street)

In 2nd place, Alison Skilbeck for Are There More of You? (Assembly Hall)

In 1st place, Chris Duffy for Tonight with Donny Stixx (The Space @ Jury’s Inn)

Best stand-up comedy show – Edinburgh

Only eight shows this year gives this top three:

In 3rd place, still as funny as ever but this year eclipsed by a couple of truly brilliant shows, Spank! (Underbelly Cowgate)

In 2nd place, a comic we have seen many times before but never on fire like this, the fantastic Abigoliah Schamaun in Do You Know Who I Think I Am?! (Underbelly Cowgate)

In 1st place, someone who tickled our funnybone in a way it hadn’t been tickled before, Olaf Falafel – There’s no I in idiot (Laughing Horse @ The Pear Tree)

Best of the rest – Edinburgh

A short list of ten provides this top five, which was agony to choose, so I decided to favour new talent over more established artists:

In 5th place, the always hilarious and increasingly popular Foil Arms and Hog, Craicling (Underbelly Bristo Square)

In 4th place, the emotion-packed and fantastically musical, John Partridge – Stripped (Assembly Checkpoint)

In 3rd place, always worth getting up early for a bizarre version of Taming of the Shrew with Shakespeare for Breakfast (C Venues, Chambers Street)

In 2nd place, a brilliant comedy find from the likeable Patrick McPherson and Zac Peel – Camels (Underbelly Bristo Square)

In 1st place, throwing away all the rule books, the brilliant Garry Starr Performs Everything (Underbelly Cowgate)

This year’s Edinburgh turkey, which was so awful we had to walk out at a convenient break (along with the majority of the audience), was Hillary’s Kitchen (The Space @ Surgeon’s Hall)

Best Local Production

This would normally include the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections. However, of these groups, I only saw productions by the University students, so they sweep the board!

In 5th place, the 2018-19 3rd Year Students’ production of A Christmas Carol at the Isham Dark Studio in December.

In 4th place, Ytho’s production of O,FFS that they took to Edinburgh, but which I saw at the University in October.

In 3rd place, from the Flash Festival, Blue Shift Theatre’s production of Deciding What to do with Dad.

In 2nd place, again from the Flash Festival, Open Eye Theatre’s production of Drained.

In 1st place, the 2017-18 3rd Year Students’ production of Accused at St Peter’s Church in February.

Best Performance by an Actress in a Musical.

Time to get personal. Here are the top five, they were all fantastic in their own way:

In 5th place, Sharon Rose as Eliza Hamilton in Hamilton at the Victoria palace, London, in December.

In 4th place, Alexandra Burke as Svetlana in Chess at the London Coliseum in May.

In 3rd place, Rebecca Lock as Lilli/Katherine in Kiss Me Kate at the Crucible Theatre Sheffield in January 2019.

In 2nd place, Laura Pitt-Pulford as Charity in Barnum at the Menier Chocolate Factory, London in February.

In 1st place, Caroline Quentin as the Duchess of Hareford in Me and My Girl at the Festival Theatre, Chichester in August.

Best Performance by an Actor in a Musical.

Nine performances in the shortlist, producing this top five:

In 5th place, Ash Hunter as Alexander Hamilton in Hamilton at the Victoria Palace, London, in December.

In 4th place, Killian Donnelly as Jean Valjean in Les Miserables at the Curve Theatre Leicester, in November.

In 3rd place, Tim Howar as Freddie in Chess at the London Coliseum in May.

In 2nd place, Dom Hartley-Harris as George Washington in Hamilton at the Victoria Palace, London, in December.

In 1st place, Callum Francis as Lola in Kinky Boots at the Royal and Derngate, Northampton, in September.

Best Performance by an Actress in a Play.

Fourteen in the rather long shortlist, but here’s the top five:

In 5th place, Penelope Keith as Mrs St Maugham in The Chalk Garden, at the Festival Theatre, Chichester, in June.

In 4th place, Sophie Stanton as Mrs Rich in The Fantastic Follies of Mrs Rich, at the Swan Theatre, Stratford-upon-Avon, in April.

In 3rd place, Zoe Wanamaker as Meg in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 2nd place, Kathryn Turner as Timon in Timon of Athens, at the Swan Theatre, Stratford-upon-Avon in December.

In 1st place, Charlotte Beaumont as Susie in The Lovely Bones at the Royal and Derngate, Northampton, in September.

Best Performance by an Actor in a Play.

Another long shortlist, with eighteen contenders in my shortlist, but here is the top five:

In 5th place, a short appearance, but what a masterclass, Sir Antony Sher as Nicolas in One for the Road, part of Pinter One, at the Harold Pinter Theatre, London, in October.

In 4th place, Ben Whishaw as Brutus in Julius Caesar, at the Bridge Theatre, London, in March.

In 3rd place, Jude Owusu as Tamburlaine in Tamburlaine the Great, at the Swan Theatre, Stratford-upon-Avon, in September.

In 2nd place, Toby Jones as Stanley in The Birthday Party at the Harold Pinter Theatre, London, in February.

In 1st place, Paapa Essiedu as Hamlet in the RSC’s Hamlet, at the Royal and Derngate, Northampton in March.

Theatre of the Year.

For the fourth year running there’s no change in the Number one theatre but we have a new Number two! Continuing to present an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with RSC’s Royal Shakespeare Theatre/Swan Theatre as runner-up.

Didn’t quite exceed last year’s record number of shows seen but still managed to do quite well with 178 productions in all. Thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2019!

Review of the Year 2017 – The Eighth Annual Chrisparkle Awards

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Once again the world of the arts is holding its bated breath to hear the results of who has won this year’s annual Chrisparkle Awards. The whole team has scurried away to a dark place (my study) to determine the identities of the chosen few. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 14th January 2017 to 11th January 2018.

Are you all sitting comfortably?

The first award is for Best Dance Production (Contemporary and Classical)

So we start off with a slight problem. Apart from at the Edinburgh Fringe, we only saw one dance production all year. One measly production! Not that it was a measly production but only seeing one is definitely measly. For a time the Committee wondered if, for this year, the award should be temporarily withdrawn, but that didn’t seem fair. So we have compromised, and included the two dance shows we saw in Edinburgh as well as the one, non-Fringe show we saw elsewhere. At least that gives us three shows to consider, and this is how they place:

In 3rd place, the honest and daring piece for two, Together Alone, from the Taiwan Season at Dance Base at the Edinburgh Fringe in August.

In 2nd place, Really Nice Theatre Company’s funny and acrobatic production of Two Little Boxes at Greenside at Nicolson Square, at the Edinburgh Fringe in August.

In 1st place, for the fifth time in six years, the skilful creativity of the impeccable Richard Alston Dance Company that we saw at the Royal and Derngate, Northampton in October.

Classical Music Concert of the Year.

We saw six classical concerts in 2017 and they were all excellent, so it was extremely difficult to whittle it down to a top three. Nevertheless, the impossible has been achieved, so they are:

In 3rd place, Christian Kluxen Conducts Tchaikovsky, with a brilliant programme of Italian, German and Russian music including Tchaikovsky’s Symphony No 6 and Mendelssohn’s Piano Concerto No 1 played by Martin Roscoe, and the Royal Philharmonic Orchestra, at the Royal and Derngate, Northampton, in May.

In 2nd place, Francesca Dego Performs Bruch, including wonderful performances of Brahms’ Symphony No 4 and Bruch’s Violin Concerto No 1 with the Royal Philharmonic Orchestra conducted by Mathieu Herzog, at the Royal and Derngate, in November.

In 1st place, Jan Mráček Performs Mendelssohn, a stunning performance of the Violin Concerto together with a great rendition of Shostakovich’s Fifth Symphony with Martyn Brabbins conducting the Royal Philharmonic Orchestra, at the Royal and Derngate, in June.

Best Entertainment Show of the Year.

This means anything that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Not so many contenders this year so we’ll stick with a top three:

In 3rd place, the inimitable Damian Williams starring as Mother Goose in the panto of the same name at the Lyceum Theatre in Sheffield in January 2018.

In 2nd place, the beautiful and hilarious combination of acts that make up the Burlesque Show at the Royal and Derngate, Northampton in January 2017.

In 1st place, the start to finish riot of near-knuckle hilarity that was Dick Whittington the panto at the London Palladium in December.

Best Star Standup of the Year.

We saw ten big-name stand-up comics this year, and I think it’s fair to say they were a varied bunch with a few disappointments. I listed a top five last year but this time a top three will suffice:

In 3rd place, the extraordinary experience of spending a late night 90 minutes in the company of the one and only Miss Whoopi Goldberg, at the London Palladium in February.

In 2nd place, the irrepressible silliness of Jimeoin in his Renonsense Man Tour, at the Royal and Derngate, Northampton, in February.

In 1st place, by a whisker – or maybe two, a shared award; Tez Ilyas’ Made in Britain Tour, together with his fantastic support act Guz Khan, Underground at the Royal and Derngate in May.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

Lots of great acts with a fighting chance of winning this award, but the winner was never in doubt. From a very, very long shortlist, here are the top five:

In 5th place, the parody musical magic of Christian Reilly (12th May)

In 4th place, for his amazing ability to make so much off the cuff humour from an audience member throwing up, Paul Thorne (3rd November)

In 3rd place, the mischievous intelligence of Markus Birdman (3rd February)

In 2nd place, seen many times but on this occasion absolutely on fire, Robert White (3rd March)

In 1st place, a new star is born, and receiving possibly the best reception in eight years of watching Screaming Blue Murders, Daliso Chaponda (28th April)

And now, a new category; as we have seen so many stand-up comedy acts in other clubs, such as the Leicester Comedy Festival, Bluelight Comedy, Upfront Comedy Shows and Edinburgh Try-outs in various locations, here’s the Best of the Rest Stand-up Award.

In 5th place, the larger than life unpredictability of Aurie Styla (Upfront Comedy – Comedy Summerslam), at the Royal and Derngate, Northampton, in June.

In 4th place, the thought-provoking, hard-hitting material in the Edinburgh Try-out of his show Your Wrong, Phil Nichol (Comedy Crate Festival) at the Black Prince, Northampton, in July.

In 3rd place, the challenging, calculating material and presence of Mickey Sharma (Upfront Comedy – Comedy Summerslam), at the Royal and Derngate, Northampton, in June.

In 2nd place, a hit from the previous year’s Edinburgh Fringe, the extraordinarily personal and moving show by Richard Gadd – Monkey See, Monkey Do (Leicester Comedy Festival at The Cookie, Leicester) in February.

In 1st place, for getting on for four hours of solid hilarity, Just The Tonic Comedy Club with Johnny Vegas, and guests Kevin Dewsbury, Guz Khan and Paul McCaffrey (Leicester Comedy Festival, Hansom Hall, Leicester) in February.

Best Musical.

Here’s where it gets really difficult. I saw fourteen musicals this year, mainly revivals but a few new shows as well. Competition is very fierce and some superb shows don’t get a mention. Here are the top five:

In 5th place, so good I saw it twice on consecutive days, the touring revival of the Kinks Musical Sunny Afternoon at the Royal and Derngate, Northampton, in January.

In 4th place, the breath of fresh air with its heart absolutely in the right place, the feelgood Everybody’s Talking About Jamie, at the Apollo Theatre, London, in December.

In 3rd place, the beautiful and emotional revival of Fiddler on the Roof, at the Festival Theatre, Chichester, that we saw in July.

In 2nd place, one of my favourite shows of all time, in a dynamic and exciting revival, Stephen Sondheim’s Follies at the National Theatre Olivier, in September.

In 1st place, with incredible impact and maybe because I’ve never seen it before, and it really took my breath away, the revival of Miss Saigon at the Curve Theatre Leicester in July.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. I’ve seen 21 new plays this year, and only a handful of them disappointed. So this is an extremely difficult decision, as you have to compare such different genres; but somehow I chose a top five from a shortlist of ten:

In 5th place, the funny and sad life laundry drama, The House They Grew Up In, at the Minerva Theatre, Chichester, in July.

In 4th place, how to make a riveting play out of dry subject matter, Oslo at the Harold Pinter Theatre, London, in December.

In 3rd place, the gripping and exciting thriller based in 1980s Northern Ireland, The Ferryman at the Gielgud Theatre, London, in December.

In 2nd place, the emotional turmoil of The Kite Runner, at Wyndham’s Theatre, London, in February.

In 1st place, the extraordinary combination of political intrigue and carefree humour that forms both parts of the RSC’s Imperium, at the Swan Theatre, Stratford, in December.

Best Revival of a Play.

Saw twenty revivals, almost all of which were worthy of consideration. Nine made the shortlist; here’s the top five:

In 5th place, the high energy testosterone-fest that is Glengarry Glen Ross at the Playhouse Theatre, in November.

In 4th place, a feat of great stamina and a beautiful revival, The Norman Conquests at the Festival Theatre, Chichester, in October.

In 3rd place, the vividly re-imagined and exciting new production of Julius Caesar at the Crucible Theatre, Sheffield, in May.

In 2nd place, the spellbinding new production of Who’s Afraid of Virginia Woolf, at the Harold Pinter Theatre, London in April.

In 1st place, the production I’d been looking forward to all year and it was every bit as remarkable as one would have hoped, King Lear at the Minerva Theatre, Chichester, in October.

As always, in the post-Christmas season, time to consider the turkey of the year – the one that missed the mark the most was the Royal and Derngate’s confused production of The Grapes of Wrath in May.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 17 plays in Edinburgh, and here are the top 5:

In 5th place, the eerie and suspenseful psychological thriller Black Mountain produced by Paines Plough (Roundabout @ Summerhall)

In 4th place, the totally convincing portrayal of a relationship irreconcilably broken down with the snappy title The Delights of Dogs and the Problems of People, written by Rosalind Blessed (Studio @ Space Triplex)

In 3rd place, the thought-provoking and opinion changing Bin Laden: The One Man Show produced by Knaive Theatre (C venues – C, Chambers Street)

In 2nd place, the riveting Gypsy Queen, written by Rob Ward (Front Room @ Assembly Rooms)

In 1st place, the play that taps into the Zeitgeist and doesn’t feel like a play, the horrifying, hilarious and brain-teasing Losers, produced by Tit4Twat Theatre (Underbelly, Cowgate)

Best Individual Performance in a Play – Edinburgh

One of the hardest categories to decide as so many Edinburgh plays are true ensemble efforts. Nevertheless, here are the top three:

In 3rd place, Rosalind Blessed for The Delights of Dogs and the Problems of People (Studio @ Space Triplex)
In 2nd place, Rob Ward for Gypsy Queen (Front Room @ Assembly Rooms)
In 1st place, Sam Redway for Bin Laden: The One Man Show (C venues – C, Chambers Street)

Best stand-up comedy show – Edinburgh

Eleven shows and a shortlist of five gives this top three (which is very similar to last year’s!):

In 3rd place, for his intelligent observations and creative thinking, Dane Baptiste’s G. O. D. show (Pleasance Courtyard)
In 2nd place, for getting the political climate fully understood, with I Hope I Die Before I Start Voting Conservative, Joe Wells (Sneaky Pete’s)
In 1st place, yet again, the unmissable late night laughter line-up that is Spank! (Underbelly Cowgate)

Best of the rest – Edinburgh

Yet another really hard choice but I’ve managed to come up with a top five:

In 5th place, the superbly constructed and brilliantly characterised Bitchelors with Anna Morris (Voodoo Rooms)
In 4th place, dropping down a place from last year but still incredibly funny and audience members really have to be alert to stay safe! Foil Arms and Hog – Oink! (Underbelly George Square)
In 3rd place, the very racey acts – including the unforgettable Betty Grumble – that made up the burlesque extravaganza, Sweatshop (Assembly George Square Gardens)
In 2nd place, as last year, worth getting up early for a bizarre version of Macbeth with Shakespeare for Breakfast (C Venues, Chambers Street)
In 1st place, the brilliant material and voices of Jan Ravens in her Difficult Woman show (Gilded Balloon Teviot)

This year’s Edinburgh turkey, which was so clever-clever and up itself that you could hardly see it, was the pretentious immersive show about throwing a surprise party, Party Game.

Best Local Production

This includes the productions by the University of Northampton students, the Royal and Derngate Actors’ Company, the Youth Companies, local theatre groups and the National Theatre Connections.

In 5th place, from the Flash Festival, Can’t Stop Theatre’s untitled one-man play with Ben Sullivan
In 4th place, the Royal and Derngate’s Actors’ Company’s production of Great Expectations at the Royal Theatre
In 3rd place, Milton Keynes College’s National Theatre Connections production of Extremism
In 2nd place, the University’s production of Vinegar Tom at the Royal Theatre.
In 1st place, again from the Flash Festival, Out of Mind Theatre Company’s production of Broken

Best film

I saw seven films last year, which must be some kind of record! Two films that have received great general acclaim I really didn’t like at all – Manchester By The Sea and Blade Runner 2049. The Snowman just about limped home, both La La Land and Victoria and Abdul were entertaining and beautifully made, and Call Me By Your Name really ought to get the award for being outstanding in so many ways. However, the film I enjoyed the most and have no hesitation in naming as the recipient of this year’s award is – Paddington 2!

Best Performance by an Actress in a Musical.

Time to get personal. Fifteen contenders in the shortlist, so here are the top five:

In 5th place, Lyn Paul as Mrs Johnstone in Blood Brothers at the Royal and Derngate, Northampton, in November.
In 4th place, Lucie Jones as Elle in Legally Blonde at the Royal and Derngate in October.
In 3rd place, Sooha Kim as Kim in Miss Saigon at the Curve Theatre Leicester in July.
In 2nd place, Janie Dee as Phyllis in Follies at the National Theatre Olivier in September.
In 1st place, Imelda Staunton as Sally in Follies at the National Theatre Olivier in September.

Best Performance by an Actor in a Musical.

Seven performances in the shortlist, producing this top three:

In 3rd place, Red Concepcion as The Engineer in Miss Saigon at the Curve Theatre Leicester in July.
In 2nd place, John McCrea as Jamie in Everybody’s Talking About Jamie, at the Apollo Theatre, London, in December.
In 1st place, John Partridge as Albin/Zaza in La Cage Aux Folles at the Milton Keynes Theatre in August.

Best Performance by an Actress in a Play.

Very tough one, this one. Eight in the shortlist, but here’s the top five:

In 5th place, Samantha Spiro as Peppy in The House They Grew Up In, at the Minerva Theatre, Chichester, in July.
In 4th place, Eve Best as Olivia in Love in Idleness, at the Menier Chocolate Factory, in April.
In 3rd place, Zoe Waites as Cassius in Julius Caesar at the Crucible Theatre, Sheffield, in May.
In 2nd place, Imelda Staunton as Martha in Who’s Afraid of Virginia Woolf, at the Harold Pinter Theatre, London in April.
In 1st place, Olivia Colman as Jenny in Mosquitoes at the National Theatre Dorfman, in September.

Best Performance by an Actor in a Play.

A very hotly fought for award, with eighteen contenders in my shortlist, and I whittled it down to this:

In 5th place, Ben Turner as Amir in The Kite Runner, at Wyndham’s Theatre, London, in February.
In 4th place, Peter Polycarpou as Ahmed Qurie in Oslo, at the Harold Pinter Theatre, London, in December.
In 3rd place, Adrian Scarborough as Stan in Don Juan in Soho, at Wyndham’s Theatre, London, in May.
In 2nd place, Sir Ian McKellen as King Lear in King Lear at the Minerva Theatre, Chichester, in October.
In 1st place, Richard McCabe as Cicero in the RSC’s Imperium, at the Swan Theatre, Stratford in December.

Theatre of the Year.

For the third year running there’s no change in the Number one and Number two theatres! Presenting an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with the Festival Theatre/Minerva Theatre in Chichester as runner-up.

It’s been another fantastic year, and I’ve seen more productions this year than I’ve ever seen in one year before – 190 productions in all. Thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2018!

Review of the Year 2016 – The Seventh Annual Chrisparkle Awards

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It’s time again for the whole Chrisparkle team to meet in secret (well, in the living room) to determine who should win the gongs in this year’s annual Chrisparkle Awards. The world of the arts is once again on tenterhooks to discover who will be the chosen few. Eligibility for the awards means a) they were performed in the UK and b) I have to have seen the shows and blogged about them in the period 15th January 2016 to 13th January 2017.

Let’s do this thing!

The first award is for Best Dance Production (Contemporary and Classical)

We saw five dance productions this year and this is the top three:

In 3rd place, the exciting return of Nederlands Dans Theater 2 with their unpredictable mixed programme at the Birmingham Hippodrome in May.
In 2nd place, the amazing story-telling and fantastic performances in Drew McOnie’s Jekyll and Hyde at the Old Vic in May.
In 1st place, for the fourth time in five years, the breathtaking programme by the literally unbeatable Richard Alston Dance Company that we saw at the Royal and Derngate, Northampton in October.

Classical Music Concert of the Year.

Of the five concerts we saw in 2016, these are the top three:

In 3rd place, the stirring eleventh Malcolm Arnold Festival, The Voice of the People Gala Concert with the BBC Concert Orchestra conducted by John Gibbons, with soloist Craig Ogden, at the Royal and Derngate, in October.
In 2nd place, Alexandra Dariescu Performs Rachmaninov, a programme of German and Russian music with the Royal Philharmonic Orchestra conducted by Fabien Gabel, at the Royal and Derngate, in May.
In 1st place, the storming Alan Buribayev conducts Sheherazade, with soloist Anna-Liisa Bezrodny, with the Royal Philharmonic Orchestra at the Royal and Derngate, in February.

Best Entertainment Show of the Year.

By which I mean anything else that doesn’t fall into any other categories – for example pantos, circuses, revues and anything else hard to classify. Very hotly contended this year so we’re going to have to have a top five – and last year’s winner, the annual Burlesque Show, which, whilst excellent as always, doesn’t feature in the charts this year!

In 5th place, the wacky surrealism of Spymonkey’s The Complete Deaths at the Royal in May.
In 4th place, the supremely inventive and unfailingly polite Jamie Raven at the Royal and Derngate in June.
In 3rd place, another magic act, the brilliant and funny Pete Firman in TriX, at the Royal in November.
In 2nd place, the filthy and hilarious Cinderella, at the London Palladium, in December.
In 1st place, the masterclass of hilarious mime that is The Boy with Tape on His Face at the Royal, in November.

Best Star Standup of the Year.

We saw eleven big-name stand-up comics this year, and they were all various shades of brilliant! So it’s going to be hard to whittle them down to a top five:

In 5th place, the long lasting warm glow of an evening spent in the company of Tommy Tiernan (Out of the Whirlwind Tour), at the Royal in March.
In 4th place, the ever-waspish and never unfunny Julian Clary (The Joy of Mincing Tour) at the Royal and Derngate in April.
In 3rd place, the supremely intelligent and devastatingly funny Dane Baptiste (Reasonable Doubts Tour), Underground at the Derngate, Northampton, in March.
In 2nd place, simply because he finally allowed me to laugh at the Brexit result with all my pain proudly on display, Marcus Brigstocke (Why the Long Face Tour) at the Royal in October.
In 1st place, the woman of the moment, and that’s because she just makes you laugh so much, Sarah Millican (Outsider Tour), at the Royal and Derngate in July.

Best Stand-up at the Screaming Blue Murder nights in Northampton.

As ever, a hotly contested award; now that the JAM Comedy club shows have started at the Ark, comics appearing there are also eligible for this award. From a very very long shortlist, here are the top five:

In 5th place, the infectiously manic stupidity of Steve Best (16th September)
In 4th place, larking around where angels fear to tread, Tez Ilyas (21st October)
In 3rd place, the new prince of high camp, Stephen Bailey (4th November)
In 2nd place, turning a gig into a party, the awesome Jonny Awsum (18th March)
In 1st place, last year’s winner and still unbeatable, Ian Cognito (21st October)

Best Musical.

Like last year, this is a combination of new musicals and revivals; I only saw eight this year but they were (almost) all excellent! Here are the top five:

In 5th place, the wonderful depiction of Latino life in Washington Heights lived to the full, In The Heights, that we saw at the Kings Cross Theatre in December.
In 4th place, the captivating and satisfying revival of Sondheim’s Into The Woods, at the Menier Chocolate Factory, that we saw in September.
In 3rd place, the stunning revival of Funny Girl, at the Menier Chocolate Factory, that we saw in February.
In 2nd place, the show I hadn’t wanted to see, just caught it before it closed, and I’m so glad I did, Bend It Like Beckham, that we saw at the Phoenix Theatre, in February.
In 1st place, because it’s text book in how to stage a show and gives you such a feelgood factor, Half A Sixpence, that we saw at the Noel Coward Theatre in December.

Best New Play.

Just to clarify, this is my definition of a new play, which is something that’s new to me and to most of its audience – so it might have been around before but on its first UK tour, or a new adaptation of a work originally in another format. An extremely difficult decision, as you have to compare such different genres; but somehow I chose a top three from the eight contenders:

In 3rd place, actually three plays, the extraordinary National Theatre of Scotland production of The James Plays, at the Royal and Derngate Theatre, Northampton in April.
In 2nd place, the brilliantly written and performed The Herbal Bed, at the Royal Theatre, in February.
In 1st place, the hauntingly unforgettable Soul, at the Royal Theatre, in May.

Best Revival of a Play.

Saw ten revivals, all of which were worthy of consideration. Here’s the top five:

In 5th place, the highly innovative and enjoyable reworking of Shakespeare’s The Tempest, co-produced by the R&D and the National Youth Theatre, at the Royal Theatre, in June.
In 4th place, breathing new life into a play that could easily be a little sterile, Harold Pinter’s No Man’s Land, at Wyndham’s Theatre in October.
In 3rd place, the hilarious and brutally honest revival of Terry Johnson’s Dead Funny, at the Vaudeville Theatre, in December.
In 2nd place, Christopher Luscombe’s electric production of Shakespeare’s Love’s Labour’s Lost and Much Ado About Nothing at the Festival Theatre, Chichester, in October.
In 1st place, the production that had me sweating with excitement and exhilaration, the late Howard Davies’ production of Christopher Hampton’s new translation of Henrik Ibsen’s An Enemy of the People, at the Festival Theatre, Chichester, in May.

As always, in the post-Christmas season, time to consider the turkey of the year – the one that stuffed us all as the biggest disappointment was the drabfest that was Breakfast at Tiffany’s at the Curve Theatre, Leicester, in March.

Now we come on to our four categories specifically for the Edinburgh Fringe. The first is:

Best play – Edinburgh

We saw 16 plays in Edinburgh, and here are the top 5:

In 5th place, the elegant and moving story of post World War One England with Aulos Productions’ Lest We Forget (Bedlam Theatre)
In 4th place, the funny and unsettling Partial Nudity produced by Fandango Productions (Monkey House @ Zoo)
In 3rd place, the stunning one-man play set against Cardiff’s nightlife, Saturday Night Forever, produced by Aberystwyth Arts Centre and Joio (Underbelly Med Quad)
In 2nd place, the brilliantly stereotype-challenging Jumping The Barriers by The Courtyard Players (Space on The Mile)
In 1st place, the emotionally charged and truly creative Us/Them by Bronks/Made in Belgium (Summerhall)

Best Individual Performance in a Play – Edinburgh

This was a very difficult choice this year as most of the plays we saw were superb ensemble efforts where you couldn’t (well I couldn’t) identify one particular individual over the rest of the cast. However, I have no hesitation in recommending to you this top three:

In 3rd place, Adam J S Smith for Jumping The Barriers (Space on the Mile)
In 2nd place, Chris Daley for Jumping The Barriers (Space on the Mile)
In 1st place, Delme Thomas for Saturday Night Forever (Underbelly Med Quad)

Best stand-up comedy show – Edinburgh

Thirteen shows but a shortlist of just four gives this top three:

In 3rd place, for the honesty of his material the likeable and hilarious Dave Chawner (Cabaret Voltaire)
In 2nd place, for nailing the Zeitgeist with 10 Things I Hate About UKIP, Joe Wells (T-Bar)
In 1st place, again, the unmissable late night laughter line-up that is Spank! (Underbelly Cowgate)

Best of the rest – Edinburgh
This has been a ridiculously hard choice to make and I have to leave out at least seven brilliant shows that I would happily see again. Still, no one said life is easy. Here’s the top five: (As an aside, I was called out of the audience to participate in three of them!)

In 5th place, for brilliant impressions in a cleverly constructed show, Luke Kempner’s Judi Dench Broke My Heart (Pleasance Dome)
In 4th place, one of the best (arguably THE best) variety line-ups ever assembled and hosted brilliantly, Lili la Scala’s Another F*cking Variety Show (Pleasance Dome)
In 3rd place, the quick-fire inventive sketches that featured me but also Foil Arms and Hog – Doomdah! (Underbelly Cowgate)
In 2nd place, early morning hilarity with a beautifully written and performed subversion of A Midsummer Night’s Dream, Shakespeare for Breakfast (C Venues, Chambers Street)
In 1st place, a truly winning combination of parody, pressure and hot pan, Kev’s Komedy Kitchen (Just the Tonic at the Mash House)

This year’s Edinburgh turkey, which wasn’t as bad as all that, (although it wasn’t that great either) was the two-hander play involving night-club Mafia, The Club.

And now for a new award. This year I have seen many more local productions. They are mainly (but not exclusively) by students at the University of Northampton; but there are also the Royal and Derngate Actors’ Company, the Youth Companies, other local theatre groups and the National Theatre Connections to consider. So this is the First ever Chrisparkle award for Best Local Production – taking all aspects of the production into account.

In 5th place, from the Flash Festival, Infuse Theatre Company’s X or Y
In 4th place, by the current 3rd year students at the University, She Echoes
In 3rd place, again from the Flash Festival, La Zenna Theatre Company’s The Final Cut
In 2nd place, the Royal and Derngate’s Actors’ Company’s production of Market Boy at the Royal Theatre.
In 1st place, the University’s production of Blue Stockings at the Royal Theatre.

Best film

I only saw four last year, and, while I have to recognise the brilliance of I Daniel Blake, personal involvement (including being an extra in it) means I must award it to The Girl With All The Gifts. If you haven’t seen it – See it!!

Best Performance by an Actress in a Musical.

This is where it gets personal. Nine contenders in the shortlist, and here are the top three:

In 3rd place, Emma Williams as Helen in Half a Sixpence at the Noel Coward Theatre in December.
In 2nd place, Devon-Elise Johnson as Ann in Half a Sixpence at the Noel Coward Theatre in December.
In 1st place, Sheridan Smith as Fanny Brice in Funny Girl at the Menier Chocolate Factory, in February.

Best Performance by an Actor in a Musical.

Eight fine performances in the shortlist, producing this top three:

In 3rd place, Tony Jayawardena as Mr Bhamra in Bend it Like Beckham at the Phoenix Theatre, in February.
In 2nd place, Sam Mackay as Usnavi in In The Heights, at the Kings Cross Theatre in December.
In 1st place, Charlie Stemp as Kipps in Half a Sixpence at the Noel Coward Theatre in December.

Best Performance by an Actress in a Play.

Very tough one, this one. Thirteen in the shortlist, but here’s the top five:

In 5th place, Sophie Walter as Prosper in The Tempest at the Royal in June.
In 4th place, Adjoa Andoh as Alberta in Soul at the Royal in May.
In 3rd place, Clare Foster as Cecily in Travesties at the Menier Chocolate Factory, in October.
In 2nd place, Lisa Dillon as Rosaline in Love’s Labour’s Lost and Beatrice in Much Ado About Nothing at the Festival Theatre, Chichester in October.
In 1st place, Katherine Parkinson as Eleanor in Dead Funny at the Vaudeville Theatre in December.

Best Performance by an Actor in a Play.

The most hotly fought for award, with twenty contenders in my shortlist, and I whittled it down to this:

In 5th place, Hugh Bonneville as Dr Stockmann in An Enemy of the People, at the Festival Theatre, Chichester, in May.
In 4th place, Tom Hollander as Henry Carr in Travesties, at the Menier Chocolate Factory, in October.
In 3rd place, Nathan Ives-Moiba as Marvin Gaye Jnr in Soul at the Royal Theatre in May.
In 2nd place, Sir Ian McKellen as Spooner in No Man’s Land at Wyndham’s Theatre in October.
In 1st place, Edward Bennett as Berowne in Love’s Labour’s Lost and Benedick in Much Ado About Nothing at the Festival Theatre, Chichester in October.

Theatre of the Year.

For the second year running there’s no change in the Number one and Number two theatres! Presenting an extraordinary range of drama and entertainment, this year’s Theatre of the Year is the Royal and Derngate, Northampton, with the Festival Theatre/Minerva Theatre in Chichester as runner-up.

It’s been another fantastic year – 140 productions seen in all – and thanks to you gentle reader for continuing to read my theatre reviews. Let’s look forward to another wonderful year of theatre in 2017!