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Too good to be true?Why is London overflowing with theatrical riches?Dateline: 21st June, 2004Prognostications about the death of the theatre have been common for centuries. Recently, in an age where television and cinema are becoming ever more powerful and the Internet provides a further alternative, it can only be a matter of time before somebody suggests that all of our theatres should close. While this may come about, it is gratifying to be able to report that the quality of the best straight theatre that is appearing (as opposed to musicals) is outstanding at the moment. It is probably two-and a-half years since the British Theatre Guide started a Top 5 shows in London feature on the home page. This soon became limiting, as it is always nice to evangelise about wonderful productions and to persuade people to go and see them. At any one time, it was fairly easy to come up with a couple of alternative shows and often more. We therefore introduced an Alternative Top 5 that has tended to feature the best productions in smaller venues and second and third alternatives from the major theatres. From time to time, the Alternative Top 5 has proved to be a millstone around our necks. There have been too many occasions where it has been necessary to scrabble around listings magazines desperately trying to find a worthy tenth show. A couple of times a year, we are even forced to choose between a play that was really not worth recommending or having an incomplete list. Integrity always wins in this situation, as we would never dream of sending anybody to something that we had hated ourselves. The real point of writing this article is that at the moment, the London stage has no fewer than 14 shows that could reasonably grace one or other of our lists. This ignores Stephen Thompson's Damages, which received acclaim for almost all quarters - apart from the British Theatre Guide! How can one choose between so many good shows and why is it that spring and summer 2004 has provided such a rich and worthy crop? It is interesting to break these shows down by origin. Inevitably, three of the top plays, The History Boys, Measure for Measure and Democracy started their lives at the National Theatre. Nicholas Hytner has done wonders since he became Director last year and the National can always be relied upon for something good. A fourth, Hamlet, is directed by Hytner's predecessor, Trevor Nunn. The other major subsidised player, the RSC, provides Othello, starring Sir Antony Sher but in a relatively intimate studio production rather than as a Blockbuster. The West End is represented by two fine director/actor's shows, Journey's End and Suddenly Last Summer. No doubt, if musicals were in the remit then it would feature far more often. It is interesting and pleasing to be able to report that the best off-West End theatres are producing new work of very high quality, either in co-production or imported. This includes Conor McPherson's excellent Shining City at the Royal Court, Cruel and Tender at the Young Vic and The Goat Or Who Is Sylvia, which originated at the Almeida. This then leaves us with the jokers in the pack, shows from left-field that are challenging audiences in new and refreshing ways. Americana Absurdum at the Menier Chocolate Factory, James Baldwin's Blues for Mr Charlie at the Tricycle and Robin Soans most unusual Arab-Israeli Cookbook are all delights and join Round the Horne - still giving gentle pleasure six months into its run. After a really rough time, Hampstead has also just had probably the best play since it reopened, Yellowman by Dael Orlandersmith. This missed the cut-off, having recently closed, or we would have a Top 15. It is inevitable, having found such a rich vein of theatre of every type and to please every theatregoer, young or old, radical or traditional, that it will all go wrong. Life's pessimists will be suggesting that by the time that the Edinburgh Festival finishes in early September, it will be hard to come up with a Top 5 let alone five more good alternatives. They may be right, but it is the naive belief that this period is a herald for even better times that keeps us going to the theatre. Do please go and see some of these wonderful shows. They can only survive if the public continues to turn up in large enough numbers. Articles Indices:
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