British Superlatives

I spent the last four months studying abroad in London. I saw 13 plays and four musicals. The following is my attempt to capture the best and worst of what I saw in 17 mini reviews.

Best Depiction of the Financial Crisis 
Enron, by Lucy Prebble

Enron is Rupert Goold's imaginative staging of one of the most infamous corporate scandals in history. After a six-week, sold-out run at the Royal Court Theatre in London, Enron will transfer to the Noel Coward Theatre in the West End on January 16, 2010. The production debuts on Broadway at the Broadhurst Theatre on April 8, 2010. 

Worst Depiction of the Financial Crisis 

The Power of Yes, by Sir David Hare

This past spring, the National Theatre commissioned Sir David Hare to write a play in response to the economic recession. The Power of Yes is now playing in repertoire at the Lyttelton Theatre in London. However, "This isn't a play. It's a story." Call it a prologue, a description, or a disclaimer, but the opening lines of the play epitomize its downfall. The material is delivered in a series of lectures about hedge funds, securitized debt arrangements, and sub-prime mortgages. Designed as a time line instead of a dramatic arc, there is no character development and no opportunity to feel connected to what is happening on stage. Despite a powerful message - that those who benefit from risk-taking in the financial sector are not those who pay the price when the risks do not pan out - David Hare chose the wrong way to convey it.

Best Scenic Design 

Oliver!, by Lionel Bart

In December 2008, Rupert Goold (Enron) revived Sam Mendes' 1994 staging of Oliver!. Anthony Ward designed one of most intricate and impressive sets I have ever seen on stage.

Worst Scenic Design 

An Inspector Calls, by J.B. Priestley

Imagine the set of August: Osage County reduced to about one tenth of the size and propped up in the center of the stage. The actors barely fit inside the house and the action that takes place within is clumsy and poorly blocked. Despite a thrilling and suspense-filled plot line, the show is over-produced and over-designed to the point of distraction.

Most Promising Young Playwright 

What Fatima Did..., by Atiha Sen Gupta

When the Hampstead Theatre commissioned What Fatima Did... more than four years ago, Atiha Sen Gupta was 17 years old. Her first solo play is a provocative commentary on multiculturalism and misunderstanding in modern British society. The plot focuses on 18-year-old Fatima Merchant's decision to adopt the hijab, a headscarf traditionally worn by Muslim women. As her family and friends demand an explanation, they confront their own conceptions of identity and freedom. 

Best Monologue 

Shraddha, by Natasha Langridge

Joe's monologue describing his fight at the horse races was intelligently written by Natasha Langridge and brilliantly acted by Alex Waldmann. Unfortunately, it was one of the only scenes in the play that left me completely captivated by what was happening on stage.

Best Prison Drama 

Category B, by Roy Williams

Category B presents a dynamic power struggle between the guards and the inmates of a modern British prison facility. Roy Williams draws attention to the social pressures on young black men in the United Kingdom, as well as the culture of corruption and manipulation within the justice system. The combination of intelligent writing and a talented ensemble cast results in a production that is organic, emotive, and thoroughly entertaining.

Best Performance By A Former Spice Girl 

Blood Brothers, by Willy Russell

Melanie C, aka Sporty Spice, is receiving rave reviews for her impassioned stage debut as Mrs. Johnstone. Blood Brothers is the 3rd longest-running musical in history, currently celebrating its 21st year in the West End.

Longest Running Modern Production 

The Mousetrap, by Agatha Christie

The Mousetrap has been running continuously in the West End since its opening in 1952! With over 24,000 performances so far, it is the longest running show of any type of the modern era.

Best Talk-Back 

End Game, by Samuel Beckett
Granted, it was the only talk-back I witnessed in London ... but it could not have come at a better time. Samuel Beckett is known for his unconventional and metaphorical work, and End Game is no exception. The revival starred Mark Rylance and Simon McBurney, the latter of whom also directed the production. McBurney's insights and interpretations of Beckett's writing gave me a much more informed appreciation of the material.

Best Lighting and Choreography 

Billy Elliot, by Sir Elton John and Lee Hall

Not the best book, not the best score, and it could use a lot of editing - but the lighting and the choreography are incredible! The dancing, alone, makes up for everything that falls short.

Best Fringe Theatre Production 

If There Is I Haven't Found It Yet, by Nick Payne
When Anna is suspended from school, she spends two weeks at home with her reckless Uncle Terry. In their haphazard attempts to relate to one another, Terry and Anna develop an unlikely friendship. However, bonds often break as quickly as they form, and neither is prepared to confront the consequences. Nick Payne's captivating new play presents a cast of comedic characters trapped in tragic circumstances. The juxtaposition is often unexpected, as wit and caricature are intertwined with sincere desperation. Rafe Spall's dynamic performance and Josie Rourke's impeccable direction combine to create an inspired production.

Most Innovative Production 
War Horse, by Michael Morpurgo and Nick Stafford
The intricate puppetry that brings the horses to life is incredible. The production is set to transfer to Broadway in 2011 and Steven Spielberg has purchased the rights to the film.

Best Play 

Inherit the Wind, by Jerome Lawrence and Robert Edwin Lee

Kevin Spacey. Enough said.

Best Musical

Les Misérables, by Alain Boublil and Claude-Michel Schönberg
Simon Bowman's rendition of Bring Him Home was one of the most evocative performances I have ever seen on stage.

Best Theatre

I saw As You Like It and A New World at the Globe Theatre. The shows played in repertoire and featured many of the same actors. I stood in the groundling for both performances and loved every minute of it. The productions boasted some of the best acting and comedic timing I saw in London, and simply being at the Globe was surreal. It is an iconic landmark for any theatre fan.