We may as well begin with the most obvious. Jill and I booked to see Cabaret after knowing each other about two months, 6 months later we finally got there. And it was well worth the wait. There is a pre-show section with dance performances, and it really does feel as if you’ve walked into the real Kit Kat Club in Berlin. The show was the best we’ve ever seen, the performances were flawless, and you just cannot beat that score! We sat in the cheapest seats which were £30 – and the view was incredible, they perform in a round, and I really don’t think there is a bad view in the house.

I harp on a lot about how the West End needs more new musicals, instead of the main stays which have been there for yonks. And this show is exactly my point. It’s hilarious, clever, has incredibly catchy songs and the cast are phenomenal. I would love to see what they could do with a West End budget and a larger space. This show is everything I love about theatre, it’s new and exciting, and… here is a bold statement but I’m going to make it – If you can only go and see 1 show in London this year, make it Operation Mincemeat, I promise you will not regret it. Now RUN don’t walk to Riverside Studios to see it now before it closes at the end of July, although I really hope that’s not the last we see of this wonderful show!

Arguably one of the most highly anticipated shows of the year, after those sold-out concerts in January…

Jordan Luke Gage is phenomenal in his portrayal of Clyde Barrow the outlaw, his ‘Raise A Little Hell’ is something that simply cannot be seen just once. Natalie McQueen is exceptional as Blanche Barrow and proves a fantastic comedienne, and Frances Mayli McCann Has a voice to die for. This show has an incredible score, but particularly so in the Act One. I’ve said it before, and I’ll say it again, the transitions from ‘You Love Who You Love’ into ‘Raise A Little Hell’ through to ‘The World Will Remember Us’ make for one of the best ends to an Act in musical theatre.

READ AMY’S REVIEW IN FULL HERE

This new musical premiered at the Turbine Theatre this year and is based on the 1999 film starring Natasha Lyonne and Rupaul. It centres around Megan, a 17 year old cheerleader, who is sent to a conversion camp called True Directions, as her friends and family suspect she is a lesbian. There are plenty of musicals adapted from teen movies which have garnered cult status such as Heathers, Mean Girls etc. This show has all the satire of Heathers, however it’s full of great comedy and it’s beautifully camp and queer. Jodie Steele and Edward Chitticks were the highlights of the show for me. But I’m a Cheerleader is exactly the feel-good fun and ridiculousness we need. This show needs a West End transfer – and I need a cast recording now please. 

READ AMY’S REVIEW IN FULL HERE

The Lion was written by Benjamin Scheuer, it provided him with a sort of therapy when so many things were happening within his own life. The story is autobiographical, covering Ben’s life from his childhood. Scheuer performed The Lion over 500 times across the USA and UK, This production heavily relies on the pure talent of Max Alexander-Taylor. His voice is stunning, but it’s his guitar playing that impressed me the most. It was effortless and natural, and very impressive. He had complete control over the audience, I could not take my eyes off him – there was even a moment where he had a sip of water and still my eyes never left him. He gave one of the best musical performances I have seen this year. And filled me with a mixture of emotions.

READ AMY’S REVIEW IN FULL HERE

Moulin Rouge is exuberant in every way – the spectacular set, the beautiful costumes, the show-stopping numbers, the impeccable acting. The ensemble was phenomenal; the only interruption in my suspension of disbelief was me wondering “How are they still going?!” The show held true to its over-the-top celebration of love. I know there is a discourse on the legitimacy of jukebox musicals, but I think part of the meaning behind this particular show lies in its use of popular love songs. Cynical Satine and lovesick Christian throwing lyrics of famous love songs at each other in “Elephant Love Medley” to convey their opinions on love is absolutely brilliant. This was one of the more expensive shows I’ve seen, but it was 100 percent worth every pound.

This was a huge surprise to me, that after watching a half-amateur production I would be so impressed – and that it would land on my 2022 favourites list! The City Academy worked on a comedy classic and somehow, made it even better. A massive cast (plus a live band) brought the hilarious, pun-heavy, sarcastic humour to life, while Dan Conte (Max Bialystock) and Ricky Hutchinson (Leo Bloom) completely owned the stage. The production was delivered using plenty of quick changes and the most creative costumes I’ve ever seen – including a live feature of “Springtime for Hitler” with its food-inspired outfits and a group of riotous singing nazis. I truly had more fun on this rendition of “Producers” than I had while watching “The Book of Mormon” – go figure! It was one of the most ridiculous but also surprising productions I’ve seen this year for sure – and I can’t wait to see “Evita” produced by City Academy, just next month! 

Charing Cross Theatre’s in-the-round setting allows fun, slightly interactive plays to truly shine. This is exactly the case with this year’s rendition of “Zorro”. The talented cast of actors/musicians serenaded Gypsy King’s classics to a charmed audience while performing real sword fights and stunts. It’s a simple story, but told with so much heart and energy – and most importantly, joy. In my notes from the show, I highlighted: “These guys are having so much fun on stage!” – and that’s not something you see every day. They sadly had just a short run in London this year, but they surely made the most of it! 

Bonnie and Clyde was one of my favourite musicals of the year – and Jordan Luke Gage is around 90% of the reason why. I saw him as Romeo in & Juliet, and adored him then, playing the delightfully camp and loveable character. As Clyde he is just as charismatic, but has a dangerous edge. Gage’s vocals are phenomenal throughout the show – I would like a cast recording now please, so I can relive Raise A Little Hell again and again. He does so many different things with his voice throughout the show, it is mind-blowing that he does this 7 shows a week! I’m so excited to see what Gage does next – but I also hope this incredible show has a future life too!

Yes, the entire cast – all 5 of them – Claire-Marie Hall as JEAN LESLIE, Natasha Hodgson as EWEN MONTAGU, Jak Malone as HESTER LEGGETT, Zoe Roberts as JOHNNY BEVAN and Sean Carey who is currently playing CHARLES CHOLMONDELEY. Again, this show is a theatrical highlight of 2022, and the cast are what make this show exceptional. They are all incredible comedians and have an incredible amount of energy, they’re all onstage for most of the run time playing numerous characters throughout. Just go and see it already!

Jersey Boys may be the show that surprised me the most this year I did not expect to love it as much as I did! But Benjamin Yates is most of that reason. He’s pitch perfect and never misses a beat! He brings so much charisma and charm to the role and my eyes were on him whenever he was onstage.

McQueen gives a masterclass performance within the role of Blanche. Her use of physical comedy and her comedic timing is impeccable. You’re Going Back to Jail is a highlight of the show!

Cabaret is the best show I have ever seen; I left it completely speechless. One aspect of the show that contributed to my speechlessness was Emily Benjamin’s performance as Sally Bowles. During the performance, I vaguely remembered Amy telling me there was a swing performing that night, but I didn’t remember who it was. When I asked her about it during the interval, and she told me it was Sally, I was gobsmacked. Benjamin was captivating in the iconic role. Her performance of ‘Cabaret’ was breath-taking; the amount of emotion she conveyed in that one song left my heart aching for Sally. It was an absolute joy to see her perform it again at West End Live – a well-deserved honour.