2024 is coming to a close and the last shows this year have opened. Before we look ahead to all the amazing things 2025 has in store for us, it’s time to look back at my favourite shows of this year – 50 of them, to be exact.
As I did last year, I'm going to split this into three different categories:
Top 20 Plays
Top 10 Concerts
Top 20 Musicals
The criteria for each is the show had to open or take place this year and I had to have seen it myself (that might seem obvious but there are some shows my team have seen I haven’t caught myself – but more on them later).
Because I am a sucker for the rules, I have one that if a show made my chart last year, it is excluded from this year. However, there were a handful of musicals this year that transferred to the West End in productions that were bigger and better than before – so these have been included… just to over-complicate things.
There is no logic to this – nothing to do with star ratings, how many claps I did during the show or how long my standing ovation was -This is all my personal taste which, as you will see, is questionable at best. Prepare to agree disagree and exclaim “What the Hell is he doing?” as we delve into Daz’s 2024 in theatre:
Click the link underneath each title to read the corresponding review from this year:
TOP 20 PLAYS 2024
20. The Hot Wing King (Dorfman Theatre)
In a strong year for National Theatre, the Dorfman Theatre proved to be the most consistent of their three spaces with this genre-defying tale of identity, Black masculinity, sexuality and family. This was a hot show that had me craving more.
19. Death Of England Trilogy (@SohoPlace)
National Theatre ambitiously staged all three parts of this trilogy together earlier this year. With Michael, Delroy and Closing Time all fantastic as standalone plays, watching them together created something even more special in this powerful, poignant and thought-provoking trilogy.
18. The Comeuppance (Almeida Theatre)
Set as a group of friends prepare to go to their high school reunion 20 years later, this play offered a different perspective as they find themselves haunted by Death. Always leaving you guessing where the play was going, this was one of the more refreshing and unique plays this year.
17. Cat On A Hot Tin Roof (Almeida Theatre)
Rebecca Frecknall returned to Almeida to direct another Tennessee Williams classic, and the result was theatre magic. A different production that proved divisive to some but captivated me thanks to some inspired choices making this stand out from previous productions.
16. Fawlty Towers – The Play (Apollo Theatre)
John Cleese’s iconic television series was adapted for the stage in a production that manages to stay true to the episodes while bringing something new in a play I couldn’t fault.
15. The Human Body (Donmar Warehouse)
In a year where we were treated to two plays about the NHS, this one had the edge for me with a bold and ambitious production that saw a Hollywood love story play out on stage with creative production elements.
14. Barcelona (Duke Of York’s Theatre)
I was certainly in the minority with my thoughts on this show but I found it gripping, powerful and impactful. Never knowing where it was going, it took me by surprise but wowed me at every turn.
13. The History Boys (UK Tour)
Celebrating its 20th anniversary with a new tour, this production proved every bit as intelligent as the eight boys at the heart of the story and should be studied as the perfect example of flawlessly adapting a classic.
12. Spirited Away (London Coliseum)
The Studio Ghibli classic exploded on to the stage with an elaborate and visually stunning production that immersed you into the fantastical world with awe-inspiring results.
11. Slave Play (Noel Coward Theatre)
Jeremy O. Harris’ complex play divides the action into three parts with incredible, no-holds-barred writing allowing each character's intricacies to reveal itself. An uneven and uncomfortable watch but one I found impactful.
10. Harry Clarke (Ambassadors Theatre)
Tony award-winner Billy Crudup starred in this one-man play taking on 19 characters in 80 minutes to astonishing results. With multi-layered and complex writing and a stunning lead performance, this was an undoubted highlight of the year.
9. Till the Stars Come Down (Dorfman Theatre)
The one review of the year I feel I didn’t give the right star rating too, this play has stayed in my thoughts all year. With Beth Steel’s sensational writing performed by a ridiculously talented cast, this is one play I hope returns in the not too distant future.
8. Giant (Royal Court)
The play I was most excited about from its initial announcement, John Lithgow playing Roald Dahl as his antisemitic comments were discussed was everything I wanted it to be and more. If you missed it, you can catch it in its West End transfer in 2025.
7. The Importance Of Being Earnest (Lyttlelton Theatre)
Oscar Wilde’s classic got the National Treatment with an inspired production boasting a stunning ensemble cast including Ncuti Gatwa and Sharon D Clarke. Pure theatrical joy that ensured everyone left with a smile.
6. Ballet Shoes (Olivier Theatre)
The classic children’s novel got a major stage adaptation in a show that pushed the limits of how magic can be realised on stage in a joyous, mesmerising and moving production.
5. The Fear Of 13 (Donmar Warehouse)
The first production in new artistic director Tim Sheader’s inaugural season set the bar high with Adrien Brody telling the extraordinary true story of Nick Yarris leading to the perfect example of the art of storytelling.
4. The Picture Of Dorian Gray (Theatre Royal Haymarket)
An innovative production of Oscar Wilde’s classic story starring Sarah Snook as all 26 characters using an inspired mix of live filming and pre-recorded video in a clever hybrid of theatre and film.
3. The Hills of California (Harold Pinter Theatre)
Jez Butterworth and Sam Mendes reunited for this family drama split across three acts and two timelines. Veering from riotously funny to painfully unsettling, the ending was rewritten for its recent Broadway run but I personally loved it as it was earlier this year.
2. A Tupperware Of Ashes (Dorfman Theatre)
A show that caught me by surprise – at one point I wasn’t even certain I’d be covering this one myself, it left me more profoundly moved than I have been at any other show this year. With Meera Syal delivering one of the performances of the year as the family matriarch deteriorating through age, this vital play was the best to be staged at National Theatre’s South Bank home this year… though they had one more trick up their sleeve.
1. People, Places & Things (Trafalgar Theatre)
Returning to London, I had never seen this play before and went in not knowing much about it. I fell in love with it quicker than I’ve ever done before in a story that was deeply affecting and powerful. Creatively handled, it proved overwhelming at times but penetrated my emotions like no other show this year. With Denise Gough delivering the performance of a lifetime, this was unmissable theatre and the play of the year for me.
TOP 10 CONCERTS 2024
10. Jon Robyns (His Majesty's Theatre)
The West End star of Phantom brought a very different performance to His Majesty’s Theatre with a unique setlist featuring one number from a musical that opened in each of the 20 years he has been performing.
9. Oklahoma (Theatre Royal Drury Lane)
The Rodgers & Hammerstein classic returned to its original London home of Theatre Royal Drury Lane for a fitting production that stayed true to the original rather than opt for a sexier offering, complete with a dream cast.
8. Side Show (London Palladium)
Rachel Tucker and Louise Dearman reunited to play the roles of twins Daisy and Violet Hilton as part of an astonishing cast in a perfect example of how these one-night-only concerts can connect to audiences brilliantly.
7. Christina Bianco: DIVAS (Clapham Grand)
The only show in the 50 I didn’t review, Christina Bianco was better than ever as she teamed up with the London Gay Big Band in a one night only event at Clapham Grand that played to her strengths as a singer and impressionist. This is one concert I would love to see come back again.
6. Hugh Panaro – Man Without A Mask (Crazy Coqs)
The Broadway legend visited London for three special concerts at Crazy Coqs in a captivating performance that not only demonstrated his talents as a vocalist but his skills as a master storyteller.
5. Rob Madge’s Regards To Broadway (Garrick Theatre)
Not technically a concert but this felt like the best category for it. Rob Madge took the news of their show not heading to Broadway in a way only they could and turned it into a sensational one-night-only event in a deeply personal and funny show that might have been even better than ‘My Son’s A Queer’.
4. Bernadette Peters – Live From London (Theatre Royal Drury Lane)
The Broadway legend returned to the West End for a one night only concert that showcased her talent, stage presence and personality with no gimmicks required. A meticulous masterclass in how to perform these classics emotionally and exceptionally in an incredibly curated setlist.
3. Dirty Rotten Scoundrels (London Palladium)
The dream team of Hadley Fraser and Ramin Karimloo reunited to provide one of the most fun nights in the theatre this year. Stunningly directed, beautifully created and expertly performed, it had me longing for this cast to come back for a full run of the show.
2. Pippin – 50th Anniversary Concert (Theatre Royal Drury Lane)
50 years of the musical Pippin were celebrated with this special concert at Theatre Royal Drury Lane. Pure magic was created in a production that breathed new life into the classic and was by far the best version of Pippin I had ever seen.
1. Something Rotten (Theatre Royal Drury Lane)
The Broadway hit finally made its UK premiere with Jason Manford leading an all-star cast to create one of the most joyous experiences I have ever had in the theatre and the most I laughed all year. You don’t have to be Nostradamus to see this show has a big future in the UK if and when it comes back.
TOP 20 MUSICALS 2024
20. Kathy & Stella Solve A Murder (Ambassador's Theatre)
Making it to the West End after acclaimed runs around the UK, a dramatic press night meant I almost didn’t see the full show but when I did, it was worth the wait.
19. Cruel Intentions – The 90’s Musical (The Other Palace)
A show I didn’t expect to love quite as much as I did but in what proved to be a very dry January for new shows, this was the tonic I needed and the first show I fell in love with this year. Sometimes all we need is a bit of camp silliness.
18. The Producers (Menier Chocolate Factory)
The Menier Chocolate Factory staged the first major London revival of the Mel Brooks classic in a production that was a breath of fresh air and anything but a flop. Let’s hope we see more of this production in 2025.
17. Here You Come Again (UK Tour)
My final review of the year and one that truly took me by surprise. This Dolly Parton jukebox musical isn’t just camp and joyful, it carries a heartwarming message with it that resonated with me more than I ever expected.
16. A Chorus Line (Sadler’s Wells)
Curve Leicester’s production of the classic musical from 2021 had a season in London at Sadler’s Wells as part of its tour in a show that really was one singular sensation.
15. Fiddler On The Roof (Regent’s Park Open Air Theatre)
The highlight in this year’s season at Regent’s Park Open Air Theatre was this bold revival of the classic with fantastic staging and a striking setting.
14. In Clay (Upstairs At The Gatehouse)
This deeply intelligent and moving new musical received its fully stayed debut with a run at Upstairs At The Gatehouse. Taking the most profound of subjects such as love and loss, and creating an emotive response that tugs at your heart and enchants you along the way, this show has a big future ahead of it.
13. Kiss Me, Kate (Barbican Theatre)
Something fresh was brought to the classic in what became one of the must-see musicals of the summer. With Broadway star Stephanie J. Block showcasing her talents at the Barbican, this was a show that many a musical theatre fan fell madly in love with.
12. Your Lie In April (Harold Pinter Theatre)
Beginning with a concert this year, the European and English language premiere of this Frank Wildhorn musical adapted from the Japanese manga series got a fully staged West End run quickly after. Though it may have been too quick in hindsight, this beautifully poignant and moving story created a life-affirming experience.
11. Sister Act (Dominion Theatre)
The joyful musical returned to the West End bigger and better than ever before with Beverley Knight leading a cast blessed with talents in a show that was so fabulous baby, it really was musical theatre heaven.
10. Mean Girls (Savoy Theatre)
Finally hitting the West End, this fetch musical proved the limit does not exist in a production I found even better than its Broadway counterpart. Setting the gold standard in movie to musical adaptations, this was a very welcome addition to the West End.
9. MJ The Musical (Prince Edward Theatre)
One of the bigger Broadway transfers of the year was this Michael Jackson jukebox musical. Visually stunning, it featured flawless direction, mind-blowing choreography and out of this world vocals in this total Thriller of a show.
8. Just For One Day – The Live Aid Musical (Old Vic)
This new jukebox musical took the legendary Live Aid concerts and turned it into a creative piece of theatre, using a surprising narrative that brought something new to the classic songs, Look out for it when it transfers to the West End in 2025.
7. Starlight Express (Troubadour Theatre Wembley Park)
As we enter a renaissance of Andrew Lloyd Webber revivals, the Troubadour Theatre in Wembley Park was transformed in a truly stylish production that gave everyone the sense of childlike wonder and had me feeling like a kid again.
6. Babies The Musical (The Other Palace)
After a concert last year, the fully staged production opened at The Other Palace in a great example of how time and care can lead to the creation of something beautiful. It felt like witnessing the birth of the next big thing from a show I expect to grow in the coming years.
5. Next To Normal (Wyndham’s Theatre)
Transferring to the West End after last year’s run at Donmar Warehouse, this production maintained the intimacy in its larger space with a returning cast who had spent so long with the roles, they had managed to bring something even more emotional to the story.
4. Standing At The Sky’s Edge (Gillian Lynne Theatre)
A well-deserved West End transfer for this moving show that effortlessly penetrated my heart like few shows have ever managed. Transferring to a different space opened up new doors to create the biggest and best version of it yet.
3. The Curious Case Of Benjamin Button (Ambassador's Theatre)
While I loved this musical last year, the West End transfer wasn’t just the best possible version itself but proved a show like this just gets better with age. A show unlike any other, this is as beautiful as musical theatre gets and I hope one that stays around for a long while yet.
2. Here & Now – The Steps Musical (The Alexandra, Birmingham)
Let’s get this out of the way – a Steps musical has no business being THIS good, but for its premiere in Birmingham, there was something clearly special about this show. Camp, silly yet full of heart, this steptacular production was anything but a tragedy. Catch it when it kicks off a UK tour in August 2025.
1. Hello, Dolly! (London Palladium)
Due to open in 2020 before a pesky pandemic scuppered that, it was so nice to see this classic musical back where it belongs. With Imelda Staunton proving more than worth the wait, this show might have only had a limited season at the Palladium but it left me wishing it would never go away again. Ultimately, my top musical of the year is the one that provided me with the most joy and in my three visits I made to this wonderful show, nothing else came close.
Of course, I can’t see everything myself and if there are some notable omissions on this list, it may well be because I didn’t catch the show. So I asked some of my amazing team what their personal favourites of the year were. Here are their picks:
DAN
Play: G (Royal Court)
A truly beautiful piece of new writing, I can still see the whole piece in my head now - the movement, the white trainers, the coat. It was so special and managed to subtly dance across a whole heap of genres.
Musical: Rishi Sunak’s Doing a Musical! (Waterloo East Theatre)
At a pretty bleak point of time in the year, this musical came along and was just an hour of ridiculous musical cabaret silliness. I could happily watch a new version of this show every month to keep up with the news.
EAVAN
English (The RSC/Kiln Theatre)
Theatre awards never get it right. But, I hear you cry, isn’t it all a matter of taste and therefore a subjective subject with no ‘right’ answer? That may well be but English at the RSC / Kiln Theatre deserves many awards even though I’ve yet to see it get a single nomination. A play with nuance, clever direction and a stand out performance from Serena Manteghi - I honestly don’t think theatre gets any better.
HARRY
Musical: The Curious Case Of Benjamin Button (Ambassdor’s Theatre)
A pretty heavily reworked Benjamin Button: The Musical opened its well earned West End run in October and immediately sealed its place as my favourite show of 2024. Heartwarming, heartbreaking; full of heart. It is the first thing I recommend out of towners to watch, which speaks volumes.
Special mention to the Avenue Q concert at the Sondheim Theatre too.
Play: The Bleeding Tree (Southwark Playhouse)
In Outback Australia three women deal with domestic abuse and ignite a conspiracy of silence amongst their knowing protective community. An examination of society’s collective conscience, The Bleeding Tree at Southwark was as near to perfect as I’ve seen all year. Affecting, uncomfortable, brilliant.
IZZY
Musical: Why Am I So Single? (Garrick Theatre)
From the brilliant creators of Six, Why Am I So Single? is a beautiful love letter to the significance of friendship. It has an exceptional cast, with mesmerising performances from the ridiculously talented Jo Foster, Leesa Tulley, and phenomenal ensemble members that will leave you laughing, relating, and teary-eyed. I truly hope that this fun, impeccably written and deeply moving show has a life beyond the Garrick Theatre, and that more audiences get to experience one of the funniest, most heartwarming musicals I've ever had the pleasure of falling in love with.
Play: Nye (Olivier Theatre)
Returning to the Olivier Theatre next July is Nye, a non-chronological exploration into the life of the NHS founder, Aneurin ‘Nye’ Bevan. Reprising the title role is the outstanding Michael Sheen, whose ability to captivate an audience and breathe life into every syllable he speaks is a magnificent thing to witness. The love and passion for the NHS shine through the writing and performances in what is a much needed celebration of the service, and as the lack of funding from the government becomes an increasingly substantial problem, a vital reminder of its importance.
RAPHAEL
Play: Kyoto (The RSC)
Ingenious stagecraft and a pacy, pulse-racing script make for a tremendous new play. There’s humour, drama, and most importantly, a well-delivered message that sets alarm bells ringing about the state of the climate without being preachy. It opens next year at @Sohoplace for 16 weeks following its 2024 run at the RSC’s Swan Theatre - don’t miss it.
Musical: Natasha, Pierre & The Great Comet Of 1812 (Donmar Warehouse)
Eclectic, chaotic and utterly riveting from start to finish, it’s been a long wait for this musical to arrive in the UK but it’s been so worth it. Not only is it performed to perfection, but its stirring and hugely entertaining score makes this my favourite musical of the year. It’s no wonder it sold out so quickly - here’s hoping for a West End transfer!
https://www.allthatdazzles.co.uk/post/review-natasha-pierre-the-great-comet-of-1812-donmar-warehouse
ROSIE
Musical: Hello, Dolly! (London Palladium)
An absolute extravaganza of a musical, all singing and all dancing starring the wonderful Imelda Staunton. Hello Dolly! Reminds me just why I fell in love with theatre in the first place. Huge dance numbers, mixed with heartfelt emotion, spectacular staging, and a brilliant cast makes this my favourite musical of the year.
SAM
Play: The Cherry Orchard (Donmar Warehouse)
Where other directors increasingly lean into the grit and the tragedy of Chekhov's work, Benedict Andrews bucked the trend by acknowledging that the wealthy characters in The Cherry Orchard were meant to be laughed at. With a fine set of performances guiding the show, Andrews’ use of the audience as part of the setting brought a sense of grandeur and scale to a pared down, minimalist revival at the Donmar Warehouse.
Musical: Passing Strange (Young Vic)
Bolstered by a strong performance from the always-winning Giles Terera, rocker Stew’s genre-bending musical had its long-awaited European premiere, turning the Young Vic into a concert venue, a church, and a suburban home. Non-traditional in all the best ways, Passing Strange proved the enduring strength of the material as a coming-of-age masterclass, proven by plans for Terera to reprise his role for a Massachusetts transfer in the coming Spring.
SOPHIE
Play: Blue (Seven Dials Playhouse)
An unflinching examination of police brutality in America, Blue at the Seven Dials Playhouse is a true testament to how impeccable theatre stays with you.
Musical: Two Strangers (Carry A Cake Across New York) (Criterion Theatre)
With a run at The Criterion theatre far too short for my liking, Two Strangers (Carry A Cake Across New York) was the feel-good show of the year. With all the charm of a classic rom-com and the effortlessly charismatic duo of Sam Tutty and Dujonna Gift, it was the perfect recipe to be my favourite musical of the year.
Another great year for theatre with some tough choices meaning there were some incredible shows I couldn’t fit into this chart – but on a year where we’ve posted close to 500 reviews, not everything can always make the cut.
To anyone who has been responsible for bringing a show to the stage this year, thank you for providing so many of us with the escapism we need in this world. No matter whether it becomes a favourite of mine or any of the team or what kind of review we give it, the commitment to theatre is always greatly appreciated and something we hope to give back when carefully writing about the show.
Thank you to everyone who has stuck with me through the year – here’s to a lot more in 2025. Let me know what you think of my choices and anything you think is notably absent on my socials - @ATDazzles on X, Instagram, Threads, Facebook and TikTok, and @AllThatDazzles on BlueSky. See you in the theatre!
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