The best-reviewed new shows that have opened this year

It has been a cracking year for theatre!

Just look at our reviews section, and you’ll find hundreds of accounts of shows from up and down the country. While we can’t cover every single production (as much as we’d love to!), our dedicated team of critics does their very best to seek out theatrical treats for our readers.

So with that, we present a collection of our five-star reviews of the year! Please note, we’ve only included productions that are new to the UK, rather than returns or transfers.

Note: You can hit the titles to read each glowing review.

4.48 Psychosis

25 years ago, three young actors performed Sarah Kane’s 4.48 Psychosis at the Royal Court Theatre Upstairs, 18 months after the blazing talent of a playwright had taken her life. This year, those three performers: Daniel Evans, Jo McInnes, and Madeleine Potter, and the same creative team returned to the same space to perform the play once more. Our chief critic, Sarah Crompton, called it “a profoundly impactful and important return.”

After Sunday

Sophie Griffin’s playwrighting debut gave “a nuanced exploration of trauma and healing within the confines of the mental health and criminal justice system, specifically through the lens of a group of African and Caribbean men,” who join a therapeutic cooking class, according to our five-star review from Amarjeet Singh. Gentle, warm, and humorous, with a “sensational” cast. Sounds tasty.

Black Power Desk

This world premiere by Urielle Klein Mekongo, featuring musical composition by Ivor Novello Award winner Renell Shaw, impressed critic Sophia Jackson. The review paints a gorgeous photo of the Caribbean restaurant setting, where “the cast are a vision of flares, leather jackets, patterned shirts and afros.” We’d surely like to see this one in the West End at some point.

Charley’s Aunt

Rob Madge‘s “novel reimagining of Brandon Thomas’s classic farce Charley’s Aunt” debuted at the Watermill in autumn. Judi Herman says it has received a “joyful makeover,” with thanks to “Alex Berry’s warm, colourful set,” and “Max Gill’s triumphant Babbs… who irresistibly ensures that queerness is celebrated.”

The Code

“Set in 1950s Hollywood, The Code is a dazzling, unsettling triumph that peels back the glittering façade of Tinseltown to reveal a rotten core,” said our reviewer, Maygan Forbes. She gave both central performers, Tracie Bennett and John Partridge, their own resounding praise, adding that this is more than a period piece.

Cyrano de Bergerac

“Everything about it leans into a sense of wonder,” wrote Crompton while reviewing Simon Evans and Debris Stevenson’s adaptation of Edmond Rostand’s classic. In the central role was Adrian Lester, astonishingly making his RSC debut and powering the performance with “finesse and feeling.”

Dancing at Lughnasa

It was Francis O’Connor’s use of the vast Crucible thrust stage that stood out to Ron Simpson in Elizabeth Newman’s take on Brian Friel’s classic. He recalled “pitch-perfect” performances and a trip to the theatre that is surely memorable.

Daniel’s Husband

One of the last shows to open in the capital this year, audiences can now “finally get their chance to experience this potent exploration of love, commitment, and the meaning of marriage,” as Michael McKeever’s drama has its UK premiere. Sonny Waheed commented: “What starts as laugh-out-loud parlour comedy subtly shifts tone as events and personalities unfurl.”

Dracapella

A hilarious retelling of Bram Stoker’s Dracula offered up some unfestive entertainment to end the year! Jackson said there are “puns and innuendos aplenty that never tire,” and “it’s worth sinking your teeth into! Geddit?”

Emma

A trip to the Rose Theatre for Ava Pickett’s “genius” farce, loosely based on Jane Austen’s Emma, was a highlight of Crompton’s year: “Part of the joy of Pickett’s writing, beautifully directed with timing and precision by Christopher Haydon, is just how good her jokes are.”

Evita

Jamie Lloyd‘s revival of Andrew Lloyd Webber and Tim Rice’s famed musical was largely high-flying and adored last summer! With the “superb” Rachel Zegler in the title role, the production “gleams with diamond-sharp brilliance.” As Crompton finely said: “This Evita is an event with a capital E.”

The Harder They Come

Waheed reviewed Suzan-Lori Parks’ newly adapted reggae musical, which he noted focuses more on Ivan’s emotional journey than the Jamaican film on which it is based. It’s “genuinely joyous,” despite Ivan’s increasingly dire circumstances, as “Matthew Xia’s direction crackles with visceral energy, whilst Shelley Maxwell’s choreography gives everything a natural rhythm that permeates the entire production like a collective heartbeat.”

Hedda

Providing context, Jackson explained that Tanika Gupta’s adaptation of Henrik Ibsen’s classic Hedda Gabler is set in post-World War II London, and uses a racial slur within its opening minutes: “Directed by Hettie Macdonald, this version centres on Hedda Gabler’s ‘dark secret as an Anglo Indian.” Exploring the film industry’s relationship with women and race “is a refreshing and striking reimagining of a play that, despite its many, many iterations, can still wow and fascinate its audience. A must-see revival of a classic.”

Hot Mess

The talk of the Edinburgh Festival Fringe, that’s where our critic, Simon Thompson, first encountered the new musical Hot Mess. “As musicals go, this is high concept, but it’s high energy and high success, too,” he remarked, praising Danielle Steers‘ “sassy individualistic energy” as Earth and Tobias Turley’s Hu.

Other five-star reviews from the Fringe included: Lost Lear, She’s Behind You and Philosophy of the World.

Intimate Apparel

Dream team Lynn Nottage and Lynette Linton once again combined forces for a new production of Intimate Apparel, which Crompton says was “powered by an astonishing central performance by Samira Wiley,” at the Donmar Warehouse.

Into the Woods

In what has been a fantastic year for Lloyd Webber and Rice revivals, there was Paul Hart’s holy actor-musician production at the Watermill! Our critic, Herman, commented that it was “directed with imagination, insight and compassion,” and that’s the buzz!

The Last Five Years

In the intimate Barn Theatre (before moving to Reading Rep and the Ustinov Studio), Jason Robert Brown’s “multi-layered musical drama” rewards audience concentration from the off, according to Herman. It is the musical numbers that “are a particular delight, thanks to the terrific onstage band of four…” You can’t do much better than that!

The Last Stand of Mrs Mary Whitehouse

Maxine Peak and Samuel Barnett brought to life this new two-hander by Caroline Bird, exploring the enigma that is Mary Whitehouse. Our critic, Singh, said that the playwright “beautifully presents a balanced biography,” in this “sharp, clever, funny and relevant piece.”

Lovestuck

The new musical rom-com from the team behind My Dad Wrote A Porno turned Stratford East upside down, with earworm numbers. We wonder if our critic, Alun Hood, is still “struggling to get the soppy grin off his face.”

Much Ado About Nothing

Critics all over the country were making much ado about Jamie Lloyd‘s revival. With Tom Hiddleston and Hayley Atwell playing the central bickering lovers, Benedick and Beatrice, they covered Theatre Royal Drury Lane in pink confetti and filled it with a pop soundtrack. It was “simply sublime Shakespeare” according to our chief critic!

Museum of Austerity

Our critic, Anna James, argued that it feels perhaps a little absurd to assign a star rating to what she described as “a confronting mixture of exhibition, theatre and testimony that has been cleverly and thoughtfully designed and executed to deliver its message.” It feels only right for us to direct you to the full review to learn more…

My Fair Lady

“A sparkling gem for the festive season,” Joseph Pitcher’s revival of Loewe and Lerner’s My Fair Lady is “almost flawless,” according to our critic, Julia Rank. The secret weapon? She says it is the use of the ensemble.

Paddington The Musical

As Crompton observes, it was inevitable that Paddington Bear would become a musical. But it is the team: Tom Fletcher (who provides “jaunty, attractive tunes”), Jessica Swale (who wrote the very funny book), Luke Sheppard (an energetic director) and the wad of people behind the bear and in the suit (namely, Arti Shah, who inhabits the bear suit, and James Hameed, who provides the voice and the “remote puppeteering” of his face) and “razzle dazzle” star cast, that make this a “paw-fect stage adaptation.”

Pinocchio

Aliya Al-Hassan was telling no lies about this “beautiful, brand-new musical brimming with enough fun and magic to warm the coldest audience member from their heart to the tips of their toes.” Crucially, they said, “in a world where we are bombarded by artificially created images, there is something truly enchanting about seeing traditional puppets seemingly come to life through such skilful manipulation.”

Pig Heart Boy

One of the shows receiving the coveted five stars in 2025 was the stage adaptation of Malorie Blackman’s Pig Heart Boy. A piece of children’s theatre touring the UK, our critic, Hood, defies “any older person not to get caught up in the surprisingly sophisticated storytelling, the cheeky humour, the vitality of the performances, and the potent emotional wallop the play delivers.”

Radiant Boy

Across its 100 minutes, “a dark and surprisingly intense investigation that peels back the layers of three damaged lives,” unfolds in Nancy Netherwood’s play. Waheed, our critic, raved about the ensemble cast, including Stuart Thompson and Renée Lamb, the set design, and anxiety-building direction, all together “creating an experience that lingers long after the lights come up.”

The Railway Children

Our critic, Simpson, said it was full steam ahead for City of Culture, Bradford! A new production of The Railway Children acted as “a touching tribute to the Keighley and Worth Valley Railway,” in what he said is “a glorious piece of storytelling, spirited, sentimental and spectacular,” and includes a return ticket from Keighley to Oxenhope!

Ride the Cyclone

“Kitschy and gleefully morbid,” cult classic Ride the Cyclone arrived in London for its UK premiere as “Lizzi Gee’s production, running at a sleek 90 minutes, is an embarrassment of riches, and the energy and invention never let up.” Hood couldn’t find a thing to fault about “this magical, macabre little show.” Winner.

Romans, a novel

This world premiere play is said to be “an era-spanning, heart-shattering exploration of the male experience,” according to our critic, Lucinda Everett. It’s with thanks to Alice Birch’s “masterful” writing, with Sam Pritchard’s “meticulous direction,” Benjamin Grant’s “atmospheric” sound design and Merle Hensel’s “smart set” that the cast is allowed to “dazzle.”

Singin’ in the Rain

“Brimming with wit, style and talent,” Raz Shaw’s revival of the much-loved classic poured all over our critic, Amanda Dunlop, who admittedly indulged in a little bit of magic before spinning a brolly down Deansgate on a wet Mancunian press night. 

Sing Street

Another new musical lit up London earlier this year as the stage adaptation of Sing Street received its UK premiere. Hood praised the tunes: “irresistible”, Enda Walsh’s book: “punchy, hilarious, occasionally absolutely devastating”, and the cast: “astounding.”

Speed

“Powerful, hilarious and thought-provoking.” That’s what Rachel Agyekum said of Mohamed-Zain Dada’s world-premiere play, set in the basement of a Holiday Inn, where three strangers are summoned to attend a speed awareness course. It played at the Bush Theatre, but we’re hopeful it’ll be on the road somewhere soon.

Stereophonic

Described as “a music studio masterpiece” by Crompton, David Adjmi’s play rocked into London off the back of breaking Tony Awards records. The long running time is no bother to our chief critic, who suggests that it makes the piece more immersive. She commented, “Of something being made as you watch and listen means that Stereophonic gradually accrues significance.”

The Unlikely Pilgrimage of Harold Fry

A man, on impulse, sets out on a walk from South Devon to Berwick-upon-Tweed, and the famed story in musical form struck a chord with our chief critic when staged in the confined space of the Minerva in Chichester. The best part was the numbers, sung by an all-star cast including Mark Addy, Jenna Russell, WhatsOnStage Award winner Jack Wolfe, Sharon Rose and more. Luckily for us, the show will transfer to the West End in the new year!

The Weir

For the first time, Conor McPherson directed his “naturalistic and numinous” play The Weir with resounding success. Crompton commented that it’s “an astonishing achievement” that the playwright premiered it in 1997 at the age of 25, and that it is “just as wondrous today,” with thanks partly to Brendan Gleeson at the head of the cast.