Sometimes the truth is stranger than fiction and that's how I preambled my review of The Great Wave at the National Theatre back in 2018.

It was based on real events in the 1970s and 1980s when North Korean agents abducted ordinary people from Japanese beaches in order to steal their identities or learn the Japanese language and culture.

The play follows two sisters one who has been abducted and the other left behind living with her sister's sudden disappearance.  It's a nail-biting, emotional roller coaster of a play that brought to life events I had no knowledge of.

Which is your favourite play based on real events?

The Great Wave is one of several plays based on real events I've really enjoyed over the years, here are some other notable mentions:

Enron, Noel Coward Theatre - Took a very dry subject and made it interesting and entertaining - bonus points for velociraptors and light sabres.

This House, National Theatre - a dusty 1970s political crisis given a high-energy makeover by writer James Graham and director Jeremy Herrin.

This week's Sunday Theatre question is about girl-power on stage - what is your favourite play or production with an all-female cast?  Theatre's gender balance still has a way to go, but it feels like it has improved in recent years. Do you think?

My choice for this makes a thing of having an all-female cast. Emilia, which I saw at the Vaudeville Theatre in 2019 (review here) is the story of Emilia Lanier, the first feminist poet and a possible inspiration for Shakespeare.

And while it is a story with feminism at its heart, having an all-female cast allowed plenty of humourous digs at the fact that women weren't allowed to perform on the stage in Shakespeare's time.

It was brilliantly done and was such a joyous production; I loved it. So what is your choice and why?

Looking for inspiration? Here are some other all-female cast productions that spring to mind:

Queens of Sheba, Battersea Art Centre - Saw this at the Edinburgh Fringe then again when it transferred the Battersea Arts Centre. It's one of those plays that doesn't shy away from looking at the difficult subjects - sexism and racism - but also feels like a celebration and a rally - a call to arms. I loved it very much.

Hopefully this year we'll see theatres reopening and a semblance of normality returning so with that in mind the first Sunday Theatre question of 2021 is about what your dream play would be and who would star in it.

So pick a genre - or a play if you have one in mind - the actor and/or actress you'd most like to star in it and then share it in the comments.

My choice would be a black comedy starring Ben Whishaw and Monica Dolan for reasons I explain in the video.

Looking forward to reading about your choices and scroll down for my favourite black comedies...

I love a serious play, something thought-provoking and challenging but right now, with everything that is going on, I just want a laugh. I want frothy fun that is diverting. Did behind-the-scenes farce The Comeback at the Noel Coward Theatre fit the bill?

Ben Ashenden & Alex Owen in The Comeback. Photo Marc Brenner

Written by and starring Ben Ashenden and Alex Owen, The Comeback is a bit like Michael Frayn's Noises Off but instead of seeing the on and off stage shenanigans during a play, it is set on a comedy tour.

The 'stars' of the tour are an ageing comedy duo (Morecombe and Wise-esq) trying to stage a comeback. Ben and Alex are the warm-up act and hoping the tour will catapult them into the big time.

When they spot the name of a Hollywood director on the list of ticket holders the need to impress suddenly becomes even more important.

Ashenden and Owen's humour is gentle, fun and cleverly disarming. You wonder where they are going with a skit or a gag but where it lands is often a surprise - and all the funnier for it.

Uncle Vanya at the Harold Pinter Theatre, starring Toby Jones, Richard Armitage, Eleanor Eleazar and Aimee Lou Wood, was one of the last plays I saw before theatres closed and it's safe to say I adored it. Which, considering me and Chekhov have a difficult relationship, is saying something. 

Uncle Vanya (c) Photography Seamus Ryan and Artwork Muse Creative Communications

So when it was announced that the cast was reuniting under Covid-safe conditions to re-perform the play on stage but this time directed for camera, I didn't hesitate to get a ticket to see it on the big screen.

But how did it compare to the original stage directed version?

Well, the first thing to say is that the only cast change for the filmed version was Roger Allam stepping in for Ciaran Hinds to play the professor. 

Allam is slightly less intimidating than Hinds but that didn't make any material difference.

As for the filming, without the constraints of a live audience, the piece felt less stagey and more like an actual film than the NT Live productions.

In fact, you quickly forgot you were watching something performed on stage - the only reminders were the doors through which the actors exited the stage. They are part of the theatre and therefore a more contemporary style to the rest of the set.

I saw Uncle Vanya starring Toby Jones and Richard Armitage at the Harold Pinter Theatre at the beginning of March and loved it so much I was going to try and get another ticket but then lockdown happened.

Uncle Vanya (c) Photography Seamus Ryan and Artwork Muse Creative Communications

Much excitement then that the production is coming back. It's been filmed on stage with almost the entire original cast (Roger Allam is stepping in for Ciaran Hinds). 

It's not a straight-forward film version of the stage production instead it has been directed for the screen by Ross MacGibbon in "a sumptuous re-interpretation of Ian Rickson’s stage production".

The filming took place under strict Covid-19 secure, independently drawn up protocols, with the cast self-isolating and undergoing regular tests and the crew in masks, PPE and socially distancing throughout the process.

It will have a cinematic release before being broadcast by the BBC.

For more details head to https://unclevanyaplay.com/.

Can't wait to see it again in this new version.

It will be interesting to see if other productions that had to close follow suit. What would you like to see back in a filmed version?

Related reading:

Review: Richard Armitage 'magnetic', Toby Jones 'endearing', Aimee Lou Wood 'adorable'

Humour is personal, what one person finds hilarious might fall flat for someone else. And it is really difficult to get right, comic timing is a great skill.

Now I love dark comedy, the uncomfortable laugh that makes you think but I'm also partial to the silliness of a good farce.

Here are my favourite comedies from the past 10 years of writing this blog and I would love to know what your favourites are - tell me in the comments.

Upstart Crow, Gielgud Theatre

A clever and funny play that twists and weaves Shakespeare's plots - often exposing their ridiculousness and prejudices - with modern references.

Teenage Dick, Donmar Theatre

Based loosely on Shakespeare's Richard III the setting is an American high school and the machiavellian protagonist is a hemiplegic student Richard who is fed up of being bullied and teased about his disability.

It was a great combination of fun and dark comedy - and had a brilliant dance sequence.

Emilia, Vaudeville

A potent mix of humour, fun and feminism. It had a powerful message delivered in a deliciously entertaining and clever way.

Present Laughter, Old Vic

Director Matthew Warchus put a fresh spin on the well-trodden Noel Coward play which, coupled with Andrew Scott's performance, made this a sublime comedy.

I reviewed it alongside Noises Off at the Lyric Hammersmith, in a compare and contrast of the two comedies which you can read here.

While there might not be quite as many meaty stage roles for actresses as there are actors (is that changing?) the plethora of acting talent I've seen over the past 10 years made this quite tricky to narrow down. Hence the list of 11 rather than a neat 10 (and presented in no particular order).

Patsy Ferran in My Mum's a Twat, Royal Court Theatre. Photo by Helen Murray.

I've also added a few names I've only seen once or twice but really want to see do more stage work.

Who would you add, let me know in the comments?

1. Imelda Staunton

Who can forget Margaret in Good People or Martha in Who's Afraid Of Virginia Wolf? It's always a treat when she treads the boards.

2. Jade Anouka

She was the best Hotspur I've seen when Phyllida Law did her all-female Henry IV at the Donmar Warehouse. She also did a fantastic one-woman show at the fringe (Chef) and I still remember the bit of subtlety she brought to Jamie Lloyd's lively production of Dr Faustus.

3. Patsy Ferran

Patsy, Patsy, Patsy. Have seen her in fringe productions, small studio theatres, one-women shows and taking lead roles in classics which have ended up in the West End (and winning her awards). So pleased to see her career taking off and can't wait to see what she does next.

I love curtain calls at the end of plays. It's a revealing time when characters are shaken off - or not - when faces perhaps show the person underneath the acting mask.

View from the stage at the RSC Swan Theatre. Photo Rev Stan

They can also be a time of japes, fun and banter.

From time to time over the past 10 years of blogging I've mention curtain calls, they even have their own category in my end of year awards on occasions, so I decided to compile a list of  my favourites:

1. Only on the last night of the RSC's Richard II could the King (David Tennant) and his deposer Bolingbroke (Nigel Lindsay) have a final tussle for the crown. It was 2-0 to Bolingbroke in the end, David Tennant's curtain call lunge to take the golden circlet from Nigel Lindsay was not quite fast enough.

2. Another last night, this time the end of the run was all a bit too much for the cast of Mojo at the Harold Pinter Theatre. Daniel Mays looked like he'd been crying backstage and Ben Whishaw and Rupert Grint were fighting tears.

3. And another last night...Mark Strong couldn't hide his emotions at the end of A View From the Bridge at the Young Vic but instead of tears, he mouthed a satisfied 'yes' while making a fist.

4. At the curtain call of cold war drama Anna, National Theatre, there was a polite request from the cast who held up a series of cards which spelt out 'No Spoilers'.

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.