So this month Rev Stan's Theatre blog is 10 years old. My first post was 18 April 2010, it took a couple of weeks before I was to post again but the marker was in the sand.

I had lots of ideas for fun theatre nerdery to celebrate but the lockdown has clipped my wings a little bit as many of them involved actually be at the theatre.

But not to let a decade of theatre bloggery go by without marking the occasion I've got a few other things up my sleeve for the coming few weeks/months.

And to kick things off I've compiled a list of my favourite play for each year I've been blogging (I did my 10 best plays of the decade back in December).

It has been fun revisiting my best-of lists but absolutely agony narrowing each list down to just one, as you will see.

I'm still not 100% happy but here goes:

2010

I initially chose The Pride, Lucille Lortel Theater, New York which saw Ben Whishaw make his Broadway debut alongside Hugh Dancy and Andrea Riseborough but then I realised that technically I saw that in February 2010 before Rev Stan's Theatre blog was born. So I've reluctantly decided it doesn't count.

So my second choice is Clybourne Park, Royal Court Theatre. It's a play that set the benchmark for uncomfortable humour and one which I regularly reference when talking about superb dark comedies.

2011

Jeez, this was a tough one. This was the year I saw Jerusalem, Much Ado with Tennant and Tate and Collaborators, National Theatre to name just three. But with much soul-searching I'm going to choose Flare Path, Theatre Royal Haymarket because it was so beautiful and warm and sad and I'll always remember Sheridan Smith's trembling bottom lip and a brilliant early performance by Matthew Tennyson. Saw it more than once too.

One of the highlights of my trip to the Edinburgh Fringe last year was Nouveau Riché's Queens of Sheba.

It was an exhilarating watch and sparked a strong emotional response so I'm chuffed to see that it is touring the country in the Autumn.

Details of the tour can be found here and if you are London-based, like me, then Queens of Sheba will be at the Battersea Arts Centre 18-23 November.

It's a show I can't recommend enough and if you want to know more, you can read my review here.

110+ plays and my first visit to the Edinburgh Fringe (15 plays in 6 days), 2018 was quite a year...

Magic and memorable moments:

Patsy Ferran in My Mum's A Twat, Royal Court. Photo: Helen Murray.

Feeling part of the set:  Sitting on a bean bag on the carpet in Patsy Ferran's 'bedroom' for My Mum's a Twat at the Royal Court (and she said hello to me).

Audience reaction #1: The audience gasping at the 'snap' during a scene in the RSC's Julius Caesar where a little boy's neck 'was broken’. Obviously, no child was harmed etc.

Audience reaction #2: Finding myself stood up singing Amazing Grace with the entire audience at the Royal Court during 'Notes From The Field'.

Actor interaction: Kia Charles winking at me and grinning during Quiz, Noel Coward Theatre (benefits of on-stage seating).

Surreal moment #1: Alex Hassell introducing himself to me and Poly was a bit surreal (stopped myself from blurting out 'I know, I saw you play Prince Hal/Henry V etc.)

But what made it more surreal is that we were in a church hall in Pimlico and after the meet and greet we sat in a circle to watch and sometimes be part of a production of Macbeth.

So I've published my favourite fringe plays list and my least favourite plays list, time now for my best plays of 2018 overall, gleaned from everything I've seen - large productions and small, commercial theatres, subsidised and fringe:

via GIPHY

Misty, Trafalgar Studios

A play which put the pulse back into the West End and as a result was a breath of fresh air.

A Monster Calls, Old Vic

I was nervous about seeing a stage adaptation of a much-loved book but the creativity with which it was staged combined with the performances meant I was an emotional wreck by the end. So much of an emotional wreck, I had to walk around for a bit afterwards to compose myself.

Queens of Sheba, Underbelly, Edinburgh Fringe

A play about the dual prejudice of sexism and racism encountered by black women that succeeded in being both angry, uplifting and empowering.

It left me feeling teary in a happy/sad/exhilarated way and ready to march if the call came.

There is another chance to see it at the New Diorama Theatre, Jan 30-Feb 3 as part of the Vault Festival.

Notes from the Field, Royal Court

It was an uncomfortable, seat-squirming, horrifying joy to sit and experience and I gave it an unprecedented six stars. Yes, six stars.

2018 was my first year at the Edinburgh Fringe which produced a bumper crop of excellent plays (look out for transfer details) but London has delivered some gems too.

Out of the 50-odd fringe plays there are 10 that really stand out but what strikes me most when revisiting them is how many evoked such a strong emotional reaction.

Yes, some are on the list for being highly entertaining but others made me feel angry or empowered or rebellious, some even a bit teary.

The other thing that strikes me is their diversity in ethnicity and gender balance tipped away from male dominance but I'll be writing more about that in another post.

So, in no particular order:

1. The Claim, Shoreditch Town Hall

Based on research into Home Office procedures this exposes the farcical system that asylum-seekers encounter but more than that, how incompetence endangers people's lives. It made me very angry.

2. My Mum's A Twat, Royal Court Upstairs

It's been an incredible year for Patsy Ferran, kicked off in fine style with this solo performance in a play about a girl's relationship with her mother who has joined a cult. Funny and spirited it also had dark edges.

3. Coconut, Ovalhouse

An effervescent love story and a coming of age story that challenged stereotypes.

4. Flesh and Bone, Soho Theatre upstairs

Shakespeare-esque lyricism combined with East End vernacular cleverly takes you on a revealing and entertaining journey that elevates the stories of those that often overlooked. Shakespeare would, no doubt, have approved.

Some great Edinburgh Fringe shows are heading to London, here are three I saw that I can highly recommend.

The Fishermen, Arcola (until 1 December) 

Based on a Man-booker listed novel, The Fishermen is about four brothers who go fishing somewhere they aren't supposed to and the consequences of that fateful night.

It is fast-paced, the narrative rich with detail, the characters beautifully drawn.

Read my full The Fishermen review here. 

Ladykiller, Pleasance Theatre (30 Nov - 1 Dec)

A hotel room, a dead body, a maid covered in blood with a knife in her hand. This isn’t what it looks like, it definitely isn’t.

'Her' is a perverse figurehead for female empowerment and it is that contradiction and the darkness that I loved.

Read my full Ladykiller review here.

Angry Alan, Soho Theatre (5-30 March 2019)

An ordinary American man comes across a men's rights campaigner who seems to have answers to all his problems. It won awards at the Fringe and for good reason.

You'll laugh, scoff and roll your eyes at the irony of what Roger says but the final blow is a tragic irony.

Read my full Angry Alan review here.

August was dominated by Edinburgh for me but the London theatre wheels were still turning; here's my round up of my favourite bits of news, my theatre hits and misses and few celeb spots...(let me know if I missed anything while I was north of the border).

Sally Field and Bill Pullman in All My Sons, Old Vic - yep Hollywood comes London theatreland next year in a co-production with Headlong (Jeremy Herrin directs). No dates yet but already I can't wait. 

National Theatre's artistic director Rufus Norris steps into the breach - there has been a spate of understudies and theatre staff saving the day when actors are indisposed but last night's performance of Home, I'm Darling saw Norris take to the stage to play Jonny for Richard Harrison.

Foxfinder full cast - You may have missed my July round-up (I did) which (would have) mentioned that Iwan Rheon and Heida Reed had been cast in Foxfinder at the Ambassadors Theatre, well joining them is Paul Nicholls and Bryony Hannah. It opens for preview on September 6.

The Wild Duck, Almeida - Fans of Robert Icke rejoice, he returns to the Almeida with a production of Ibsen's The Wild Duck. Speculation has already started about who will be in the cast.  Opens October 15.

Good fun with enough laughs to carry it through.

At the beginning of Australian comedian Josh Glanc's show Karma Karma Karma Karma Karma Chamedian I was reminded a little bit of a Green Day gig I went to at the Brixton Academy when the band invited members of the audience up on stage to play.

Here it's only miming to a backing track and the audience members are plucked with that embarrassed awkwardness from the front row but they did throw themselves into it much to everyone's delight, giving Glanc the TV game show host style entrance he was presumably aiming for. 

The audience plays quite a big part throughout the 60 minutes which is a series of sketches rather than stand up.

It is a lively show with music and Glanc plays different characters from different countries - an American football player, René from Europop band Aqua, an Australian cyclist and a Marcel Marceau-style mime artist.

It's a story that sweeps you up in a mixture of warmth, humour and tragedy.

Revelations is the final part of a trilogy following the lives of James, Emma, Sarah and Tom - although it works as a standalone as I hadn't seen the first two.

Told as a monologue through the eyes of James (James Rowlands) who has been friends with Sarah since they were kids, Sarah is now married to Emma who is a human rights lawyer.

This is the story of what happens when Sarah and Emma ask James to be their sperm donor so they can have a child.

There are plenty of flashbacks and references to earlier incidents for context but what follows is a story that bubbles with laughter one minute and tension the next.

Rowlands has a (very) small keyboard set up on stage and periodically will record and loop music and sung dialogue which plays along in the background - sometimes a little obtrusively as he yells to be heard over the top.

Blackout is a dark and difficult play to watch, darkly funny at times, horrifying at others

Blackout by Mark Jeary, photo by Mihaela Bodlovic

A blackout, we are told at the start, is when part of the brain shuts down in order to let the organs work and what follows is the story of six alcoholics - created from interviews with recovering alcoholics.

Their journey on the path towards alcohol abuse starts with feelings such as loneliness, escapism, being shy and drink provides the seductive magic ingredient to lift them.

'It unlocked part of my soul' says one and it's similar for the others making them gregarious and confidence - you can understand the lure.

But what follows is like falling down a dark and destructive rabbit hole, the six stories told simultaneously, with similar themes but different details.

From minor accidents to 'going off like a bomb', the blackouts, the health toll; laughter about amusing drunken mishaps, like their friends and family, drift away as the devilish effects of alcoholism release demon personalities, behaviour and paranoia.