Operation Mince Meat
Fortune Theatre, London
An extremely stupid look at subterfuge in the Second World War. Think MI6, the musical with General Melchett, cross-dressing and plenty of Ian Fleming eye-rolling. The music is infectious, the jokes are so fast-paced you only catch half of them on the first viewing, and a half-dozen performers create the presence and energy of 50 on Broadway. See it while you can; You will laugh, you will cry and you will not regret it. Lewis, 32, London
machinery
Ustinov Theatre, Bath
I’ve never seen anything like Machinal at the Ustinov studio Theater Royal Bath. A tremendous play and outstanding performances from the cast; A devastating, shocking and completely riveting piece of theatre. The most beautiful thing I’ve seen in years. That wouldn’t look right at the National. The fact that it was in a small theater in Bath was mind-blowing. It is unusual to see work of this caliber outside of major cities. We are so lucky to have Deborah Warner producing theater here. Annika Bluhm, Bathroom
Woodhill
Summer Hall, Edinburgh
I saw the Woodhill by Lung theater company on the Edinburgh border. I hope there will be a full UK tour because everyone should see it. Campaign theater with a really clear, emotional call to action that makes you think differently about our UK prison system and how we deal, or don’t deal, with suicide and death. It wonderfully combines dance and the voices of grieving families into a show that will leave you ready to discuss possible future alternative prison systems that address current injustices for hours. It’s very well thought out, from each well-timed move to being given a health pack to support you through the game’s themes. Long live the Lung theater company. Minnie, 28, London
Penguin
House, Manchester
I had the privilege of seeing Penguin at Home in Manchester in October. It was a powerful and moving performance told with dignity and pride by storyteller Hamzeh Al Hussien, who has personal experience of living with a disability and the discrimination he faced, fleeing conflict due to the war in Syria, and eventually seeking asylum in the UK. If you get the chance, I definitely recommend you check it out. Produced with the support of Curious Monkey, a northeast-based theater company that tells great stories by and with underrepresented groups and for everyone. Pascal D Checkley, 42, Manchester
Kids from Blackstuff
Royal Court Theatre, Liverpool
It still made me angry and sad, but also laughed out loud at the Scouse humour, as a television series from the 1980s was first staged and is still just as relevant in today’s political climate. Great cast but special mention to Barry Sloane as Yosser Hughes, I didn’t think anyone could come close to Bernard Hill’s original but I was wrong. There is also mention of the emotional a cappella lament initiated by Andrew Schofield, who plays George, and joined by the rest of the cast. Jackie, 65, West Lancashire
Beaver Festival
Old Vic, London
Unforgettable. I expected easy laughs and emerged with a deep connection to the challenges of being human. It was a beautiful piece of theater and I ended up watching it four times. It lasted just three months and will be held once again in Melbourne after Christmas. How difficult can it be to go to Australia? Helen, Southampton
Motive and Sign
National Theatre, London
My favorite was The Motive and the Cue, produced by Sam Mendes. I liked Jack Thorne’s play about a play within a play so much that I bought the script and went there twice. Mark Gatiss’ command of John Gielgud’s voice, walk, and mannerisms was astounding. Johnny Flynn and Tuppence Middleton were compelling as Richard Burton and Elizabeth Taylor, arguably our first modern celebrity couple. – with a strange mixture of arrogance and insecurity. Tears flowed from my eyes every time. Jane Lee, 75, Kingston upon Thames
Swelling
Orange Tree Theatre, Richmond
What appeared to be a story about a love triangle (albeit well-acted and expertly plotted) unfolded in a daring final act that I never saw coming. I spent most of the journey home in a daze, replaying the moments in a whole new light in my mind. A little gem. Lizzy 38, London
Grenfell: In the Words of Survivors
National Theatre, London
It’s an incredibly powerful, politically violent examination of what happened that night, an account that is deeply respectful of the community that lived there before and after. Stylistically, it was a simple production, avoiding sensationalism, focusing on the human voice telling us these shocking, frightening, deeply moving stories. A bystander action and a call to arms. Stephanie, 62, London
Kim Noble: Lullaby for Scavengers
Soho Theatre, London
Performance artist Kim Noble explores isolation and existential angst through wild yet profound public experiments. Who covers himself in maggots, talks to us through a taxidermy squirrel, and sometimes disturbs an Axa insurance company office by wandering around naked. From here they get even more extreme. There are also touching moments, including the dialogue between Kim and her dying father. Right before watching the show I received a text saying my childhood friend Emily was in the hospital and wouldn’t make it through the night. I remained in my seat, acutely aware of the terrible reality waiting outside. But the way Kim struggled for life, made peace with death, and fought for connection reminded me why theater is so vital. I know Emily will love the show. Scarlett Stitt, 24, London
The Real and Imaginary History of the Elephant Man
Nottingham Theater
As a regular theatregoer I found this show very different from the mainstream works I usually see. An incredibly touching and thought-provoking play with strong acting. Jen Shailes, 66, Market Harborough, Leicestershire
Trojan Women
Festival Theatre, Edinburgh
The fear and pathos of a Greek tragedy are taken to their extreme and cast in the modern mold of traditional Korean folk opera. Ruthless and devastating, its peaks and valleys had me by the scruff of the neck and wouldn’t let go. Everything was done strictly; the artists were some of the most embodied names I’ve ever seen. The energy they contained and released in lament pierced the heart with the true tone of their pain. A shattering experience and a soaring success. Tom, 28, London
Miss Saigon
Crucible, Sheffield
I had previously watched Boublil and Schönberg’s Vietnam war musical and was disturbed by the depiction of a very young girl forced into prostitution. In this production, Kim is a strong, confident young woman who uses those around her to improve her situation. The staging was simpler than the overly elaborate original version. The helicopter scene was much more effective and had the audience holding their breath. The sound was amazing; The perfect curtain to match the action on stage. John Froggatt, 63, Derbyshire
untitled fuck m*ss fuck will play
Young Vic, London
A friend bought a ticket for me to play anonymous fuck fuck and I had very few expectations. I found this both incredibly funny and very enlightening. It highlighted racism, misogyny, and imperialism in theater and television in ways I hadn’t considered before. The dinner party at the end was the perfect, disturbing conclusion. Jill, 50, Crofton Park
clear your mind
Aviva Studios, Manchester
My youngest son and I went to see Free Your Mind, directed by Danny Boyle and presented by Factory International, at the brand new Aviva Studios in Manchester. A new look at the Matrix movie. The production was surprising and unique; The second half made excellent use of a long, catwalk-like stage. I feel privileged to have seen this. Jill, 66, Plymouth
Plow Your Plow Over the Bones of the Dead
Bristol Old Vic
It was directed and designed by Simon McBurney and based on a novel by Olga Tokarczuk. It was great to see a strong, older female protagonist in Kathryn Hunter’s Janina; a woman that many of my peers can identify with. Joanna Cross, 72, Bristol
Woolf Works
Royal Opera House, London
My favorite show was Wayne McGregor’s ballet Woolf Works and the Royal Ballet; starring Alessandra Ferri, great ensemble and great production. Having traveled to the UK for this left me stunned, satisfied and grateful. Ines, 33, Ireland
Iolanthe
English National Opera, London Coliseum
I nominate Iolanthe by Gilbert and Sullivan for ENO. I watched this a few years ago and decided it was so funny that my sons, ages nine and 10, had to see it this year. They found it incredibly funny and wanted to go back and take the whole extended family to see it. I love how layered the production is and how topical the humor is. There are plenty of jokes and even political satire. A great night out and I will definitely go again next time. I think defending ENO is incredibly important. They sing in English and make opera accessible to many people. It’s a shame they got into so much trouble. Kathryn, 45, London