Alex Mugnaioni, Samuel Collings and Patricia Allison in Jules and Jim, Jermyn Street Theatre. Photo by Steve Gregson

Jules and Jim is an exploration of love and friendship told through the lens of three people living an unconventional lifestyle. Jules (Samuel Collings) is a German poet who meets Frenchman Jim (Alex Mugnaioni) in Paris.

They share a love of art and travel together until Kath (Patricia Allison) arrives with an enigmatic smile that mirrors the one they saw on a statue of a Goddess in Greece. Naturally, they both fall in love with her.

Jim has a history of falling for Jules' girlfriends, but when Jules says Kath is out of bounds for him, you can easily guess what is going to happen.

Over 90 minutes, we follow the trio across the decades that straddle the first world war. They move about, live in Paris, Berlin and rural Germany, visit each other, marry, take lovers, they have children and miscarriages.

Solid friendships

But all the time, they are open with each other about their relationships and feelings. There are flares of jealousy, but nothing seems to rock the foundations of their friendship and love. 

Robert Boulton, Henry Davis and Louise Hoare in Snowflakes, Park Theatre, April 2023 (c) Jennifer Evans

Robert Boulton's play Snowflakes takes cancel culture to the extreme. A start-up business metes out 'justice' for offences and offending on social media. Live streamed, the 'defendant' is given a chance to put their case and the audience votes on whether they can walk or are killed on camera.

The 'hitman/hitwoman' decide on the style of death. Yes, it is dark.

Waking up in a hotel room having spent the night with a woman that isn't his wife, Tony (Henry Davis) is ambushed and drugged by Marcus (played by Boulton) and Sarah (Louise Hoare).

The former is an old hand at this 'work' and relishes it. Sarah is on her first job and wants to do everything by the book, but that seems to include riling Marcus by accusing him of disliking women which had me jumping ahead of the story.

Setting up the equipment while discussing the job, their route into it and the pros and cons turns into rather a long preamble to the actual 'trial'. It stretches the tension of the first half a little too thin.

But when Tony is conscious, and events truly kick off, it is not the most relaxing watch having events unfold in such close proximity (this is in the Park's studio theatre).

Having an unseen digital audience voting on the 'defendant's' fate is an interesting idea. Keyboard trolling is taken to the extreme; it highlights the ease with which people can separate themselves from the real impact of their actions if viewed via a screen.

And our two assassins carry out the audience's will; it's a job like a judge handing down the results of a jury trial.

Will Close is the Mediocre White Male, King's Head Theatre March 2023

The mediocre white male of the title, or MWM as he's referred to by a colleague, is angry. His school friends have moved on, and he's stuck playing a talking statue at the local stately home.

To make matters worse, he's been sent on a gender awareness course for referring to his female colleagues as 'girls'.

He yearns for the past when life was simpler, there was banter, and he knew where he stood.

But this isn't a story of unfulfilled ambition and navigating a world that is "politically correct". Well, it is, but over the course of an hour, our MWM (played by Will Close) reveals more and more about himself that sheds him in a different light.

He is a man who doesn't take rejection well or accept responsibility. He's also incapable of understanding a different perspective. MWM is prone to using phrases like 'nobody told me' and 'how was I supposed to know'.

Annabel Leventon and Tim Hardy in The Journey to Venice, Finborough Theatre, Mar 23. Photo: Simon Annand

What do you do when your escape mechanism from the pain of past events is no longer available to you?

Edith (Annabel Leventon) and Oscar Tellman (Tim Hardy) enjoyed travelling when they were younger and able. It was diverting - a distraction. But now, in their later years, their bodies and budget don't allow them to venture far outside their flat. So they improvise.

Bjorg Vik's play invites you into the world of Edith and Oscar, and it is a world full of literature, poetry, imagination, and pretend travels.

There is teasing, laughter, vivid recollections, sensible shoes and packed lunches. So evocative are their recreated trips that plumber Christopher (Nathan Welsh) and home help Charlotte (Vivian) both get drawn in, 'travelling' with them to Venice.

Gemma Lawrence and Kathryn Bond in The Beach House, Park Theatre, Feb 2023. Photo: David Monteith-Hodge

They say moving is one of the most stressful things you can do. What happens when you move to your dream beachfront home that is 'in need of renovation', you have a baby on the way, and your relationship is evolving fast?

Add a flighty sister, and you've got the premise for Jo Harper's new play, The Beach House at the Park Theatre.

Couple Liv (Gemma Lawrence) and Kate (Kathryn Bond) have much to be excited about in this new chapter of their relationship. It's a shame then that Kate has a strained relationship with her younger sibling Jenny (Gemma Barnett).

The latter's life lacks the stability of her sister's. Jenny's chosen career is as a dancer, which means stints working away at a circus or on a cruise, and her relationship with her boyfriend is in choppy water.

Deep down, does Jenny want to be like her stable sister, or does she want what her sister has?

But Liv and Kate's relationship isn't as plain sailing as it might initially appear.

Kate is in a rush to return to work after their daughter is born, and Liv, when not looking after the baby, takes sanctuary in a glass or two of wine.

Jenny and Liv are increasingly pushed together as Kate doubles down on her work and career.

The stage contains little more than a wooden storage chest into which clothing and baby items are regularly tidied and occasionally a box, bucket or pouffe.

Jon Osbaldeston, Louise Faulkner and Gwithian Evans in The Elephant Song, Park Theatre, Jan 2023. Photo: Giacomo Giannelli

Michael Aleen (Gwithian Evans) is a resident at a secure mental hospital obsessed with elephants. He also seems to hold the key to understanding the disappearance of one of the psychiatrists, but can the hospital director Dr Greenberg (Jon Osbaldeston), believe what he says?

Nicolas Billon's The Elephant song takes us through a game of cat and mouse as Dr Greenberg tries to talk Michael into revealing the information he has.

Michael, with his toy elephant always in his hand, knows the information he has might give him some leverage. He wants to leave the hospital. 

Nurse Peterson (Louise Faulkner) warns Greenberg that Michael is manipulative. And Michael is, using his keen, sometimes cruel, observation and sharp intelligence to his best advantage.

No One, Omnibus Theatre, Jan 2023

No One at the Omnibus Theatre bursts onto the stage with a scene in a club, complete with a live DJ, which quickly descends into a fight. Then we jump to a police station and investigation into a missing girl and the violent attack of a man.

It sounds dark, but how it is performed brings a humourous touch.

The policeman, with a strong West Country accent, listening to a drug-fuelled, seemingly odd and improbable explanation of what happened has hints of Edgar Wright's Hot Fuzz.

The mystery behind the attack, the missing girl and the odd occurrences then steadily unfolds. It is logical and simultaneously illogical, which is part of the fun.

Based thematically on HG Wells's The Invisible Man, the piece has been devised by Akimbo Theatre who trained in physical theatre at Jacque Lecoq, Paris. And they put that training to good use.

Sam McArdle in the Manny, King's Head Theatre, Jan 2023. Photo: Gabriel Bush

Sam McArdle plays 'the manny', a male nanny working for rich, single women in West London. He is a charmer, charming his employers, his charges and the women on dating apps he wants to sleep with. But 'living the life' isn't all it's cracked up to be.

In a solo performance, McArdle weaves the narrative, switching between scenes in his working life and social life. 

He lands a mostly cushy job except for difficult-to-charm 7-year-old Michael. McArdle has a witty take on child care and amusing observations of the children of the rich, presumably gleaned from his time working as a male nanny.

His fictional Manny uses his own brand of charm to win over parents and other mums at the school gates.

Outside of work, casual sex takes a back seat when, bored and lonely one day, he ends up at a community improv class and falls for teacher Molly, an out-of-work actress.

Molly is in a relationship and doesn't fall for his charms, but he is smitten. He starts to feel deeper human connections and a sense of community, there is encouragement and support in the group, both of which have been absent from his own circle of friends.

But not everything works out the way he wants.

This feels like a moment; I haven't been able to do a best-of theatre list since 2019 because of 'you know what'. It's been huge fun revisiting the plays I've seen - nearly 50. And while that total is down on pre-pandemic levels, it was still tricky to narrow down my choices, but here goes.

1. The Collaboration, Young Vic

Synopsis in a sentence: Andy Warhol's star is waning, and young artist Jean-Michel Basquiat's star is rising; they have nothing in common but are persuaded to collaborate.

From my review: "I was gripped in the presence of two great artists and gripped by their stories. I laughed, I gasped, I cried, and if I felt compelled to tap my toes at the start, by the end, I was on my feet, and that's something I rarely do."

The play is now on Broadway, and look out for a film version (an actual film, not a filmed stage version).

2. Henry V, Donmar Warehouse

Synopsis in a sentence: The wayward Prince becomes King and has to prove himself to his country and foreign powers.

Not going to lie, Kit Harington surprised me with his performance in this.

From my review: "This is a powerful production of Henry V. Harington's nuanced, often quiet and considered Henry V perfectly highlights the complexity and often contradictory nature of the character and the role of leadership.

3. The Human Voice, Harold Pinter Theatre

Synopsis in a sentence: A woman has a final phone call with her lover, who is getting married the next day.

From my review: "It hasn't gone down well with all the critics, but I thought it was mesmerising and gripping. Hats off to Ruth Wilson."

4. Ministry of Lesbian Affairs, Soho Theatre

Synopsis in a sentence: A lesbian choir get a coveted spot on the main stage at Pride, mainly because they are the only lesbian choir to apply.

From my review: "It is a funny, interesting and occasionally challenging play that had me walking out of the theatre with a big grin on my face. And that is a big win."

Anna Coombs' adaptation of Shakespeare's Richard II sees the story slimmed down for five actors, with three of the cast playing more than one character.

Raheim Menzies and Daniel Rock in Richard the Second, Omnibus Theatre, Nov 2022. Photo by Bettina Adela

It focuses the attention on King Richard (Daniel Rock) and his cousins, the loyal Aumerle (Lebogang Fisher) and Henry Bollingbroke (Raheim Menzies), and the power tussle between them for the crown.

The production sets out its stall dressing the stage with step ladders of various heights. Who will climb, and how high will they go?

From the opening scene, where Henry accuses Mowbray (Sibusiso Mamba) of lying and murder, and Richard flip-flops over his decisions, it's a one-sided fight in terms of who is most suited to lead, but with this position of power, it's more complex than suitability.

It is the first incident that chimes with contemporary British politics of the last few years.

Menzies' Henry is a born leader, he is level-headed compared to Richard, and his campaign for what he is entitled to feels just next to the King's abuse of power.

He seems thoughtful and considered, while Richard makes decisions on a whim and falls into poetic whimsy. His justification for what he does is a divine right; he is anointed in holy oil at his coronation, after all.