Is it me, or has 2025 passed like a very fast train? Time doesn’t stand still and we have the first six months to look back on in this first part of our annual review.
2025 has been a little unusual and circumstances have changed somewhat. A lot of time has been devoted to book writing and this has necessitated cutting back on time reviewing. Added to this invitations to review at some regular venues have been cut back or barely existed. Signs of the time maybe. However, in the mix have been some exciting developments; the chance to review a second repertory season for instance as well as some excellent, good and maybe indifferent productions along the line.
This first part of the review covers those productions covered in the first six months of the year – rather more were reviwed in the second half of the year. As ever, there will be some mention of productions not specifically reviewed and all productions will be eligible for nominations in the Cormac Richards Theatre Awards of 2025.
Let’s raise the curtain.
January
A quiet month with just two productions, but both were presented by societies from the University of Exeter. Firstly, the Footlights staged the classic Broadway musical, Guys and Dolls. Millie Koplick’s fun-filled production, directed by Lizzy Thistlethwayte, was well staged and contained excellent performances from Zoe Burton as Sarah, Emma Kennedy as Adelaide and Oisin Maguire as an Oliver Hardyesque Nathan Detroit as well as an outstanding turn as Sky Masterson from Sam Williams.
The following week Exeter University Theatre Company took on Noel Coward’s Present Laughter. Following last year’s fantastic Dinner this was another triumph. Never easy to pull off, Coward words were delivered clearly and with glee. Seb Tapp was wonderfully camp in the lead with hugely strong support from Sasha Hawksworth and Isabella Maunder. A scene-stealing performance by Alex Webb had the audience in hysterics. Once again Fern Boston directed with immense skill and understanding.
February
To the wonderful OSO Arts Centre in Barnes to see On Golden Pond. It is a poignant play with a mix of wry humour and an underlying sorrow. On Ian Nicholas’s splendidly designed set the leads were provided by Hilary Harwood and James Pellow in a really excellent performance. Under Jason Moore’s distinctive detailed direction the production ticked nearly every box.
Having waited to see the stage musical of Mary Poppins for many years it was to Theatre Royal Plymouth to see the big touring production. What a disappointment! The show was overlong and the extra added songs from the film, largely added nothing. Added characters were unnecessary and the lead had no warmth at all. Thoroughly let down.
March
The chance to see Matthew Bourne’s Swan Lake again on its latest tour was too good to pass up. This time Bristol Hippodrome was the venue. Once again it was superb, but lifted by the best Prince performance I have seen. James Lovell, just outstanding; with huge depth and high emotion. The partnership with Jackson Fisch as the Swan was as good as it gets. No words are enough!
April
The Shark is Broken was an unalloyed joy. So original and so well written and performed. With Ian Shaw playing his Father acting in the film Jaws, in a truly barn-storming performance and backed by superb work from Ashley Margolis and Dan Fredenberg this was a wonderful ensemble production. Superbly directed by Guy Masterson and Martha Geelan and the script by Ian Shaw and Joseph Nixon is quite wonderful.
Birmingham Royal Ballet rarely disappoint and their production of Cinderella at Theatre Royal Plymouth certainly didn’t. The stunning music of Prokofiev was given full voice by the Royal Ballet Sinfonia and with John Macfarlane’s wonderful sets and David Finn’s atmospheric lighting it was just the dancing that needed to be tip top. As it was with Lachlan Monaghan the perfect Prince and Yu Kurihara a vulnerable Cinderella, but it was Rosanna Ely and Tessa Hogge as the stepsisters who stole the show with the perfect mix of comedy and dance. The joyfully costumed company made this show a real spring highlight.
In our review it was noted that the key to the success of the musical Dear Evan Hansen is a strong central performance – Ryan Kopel delivered this and a lot more, incredibly impressive. A new musical to us with depth and comedy and with a very well written book. A well thought out set and slick lighting and a tremendous supporting cast make this a surprisingly enjoyable show.
Kinky Boots has been a favourite musical for some time, but the touring production seen at Theatre Royal Plymouth fell short of previous versions. Some poor direction and design issues sent so much action to the back of the stage. The headline casting of Johannes Radebe as Lola worked to a degree, but vocally he stuggled, though he worked well opposite the excellent Dan Partridge. Gloss taken slightly off.
We first saw Were You Anyone Before Dad’s Army? at Quay Arts on the Isle of Wight in 2024 – a wonderful biographical play about Arnold Ridley. It had been considerably re-directed with some re-writes before reaching The White Bear in Kennington. Now with a cast of just 5 lead, once again, by Mansel David as Arnold, Nicolas Ridley’s story telling shines and Graham Pountney’s re-working is a great improvement. The intimate venue very much helped create a super atmosphere.
May
Having seen Only Fools and Horses in the West End, it was fun enough but nothing more. Somehow this touring version felt a step up. With pacey direction, swift scene changes and larger than life performances, it was extremely entertaining. No slavish copying of characterisation but Sam Lupton as Del Boy made a real impact as did Tom Major and Philip Childs as Rodney and Grandad. A great homage to the TV series.
Quadrophenia: The Mod Ballet was an exhilarating and emotional experience. With an abundance of brilliant performances lead by Paris Fitzpatrick – utterly brilliant – this innovative and stunningly staged new work blew the audience away. Fantastic work from the production team lead by Rob Ashford and Paul Roberts elevated this to the highest level. The orchestrations of the music of The Who are simply wonderful.
For our third production from Exeter University this year, Constellations by Nick Payne offered a very contrasting piece to EUTCO’s production in January. A demanding a tricky piece which was well directed by Jack Gregory who chose to use a cast of six rather than two – this was cleverly achieved. The stand-out performance being from Pippa Holt whose emotional depths were displayed in heart-breaking fashion.
June
On one of the hottest days of the year, Grease was the word presented by Worle Operatic and Dramatic Society at the Playhouse in Weston super Mare. A fun, lively production, well directed and choreographed with some excellent performances, Holly Elkins was a standout Sandy – difficult to imagine it being any better!
As outstanding an ensemble cast as we have seen this year was to be witnessed at Axminster Guild Hall for the Axminster Musical Theatre production of Come From Away. A wonderfully original musical directed with great skill and imagination by David Duthie blessed with cast of incredibly talented performers with musicians onstage throughout under Joseph Binmore. One of the highlights of the year.
And so to Sidmouth for the opening production of the 2025 Summer Play Festival, the 68th year since weekly rep started in the town. A Francis Durbridge thriller, A Touch of Danger,  to kick things off and a top notch cast are assembled under Jason Moore’s taut direction to get the audience brains in gear to try and unravel the complex plot! A great start to the season.
From inside to outside and one of the most enjoyable (amongst so many) productions of A Midsummer Night’s Dream that we have seen – this by the innovative and vibrant Sun and Moon Theatre. Carefully edited and imaginatively cast and staged, the production had everything you needed for outdoor summer entertainment. This is such a likeable company that you just know you will be entertained and Poltimore House and Gardens is an ideal venue.
The first half of the year was rounded off with the second play in the Sidmouth rep season, the wonderful farce, Don’t Dress for Dinner – performed at full tilt by an excellent cast with standout performances from Owen Landon, Rachel Fletcher-Hudson, Gwithian Evans and Bridget Lambert with an hilarious cameo from Thomas Willshire and a great debut by Isabella Heaver. What an achievement with so little rehearsal. Andrew Beckett just knows how to squeeze every possible laugh out of a farce.
So, a good start to the year with many award nominations amongst the productions. A busier second half of 2025 to come!
Cormac Richards 2025
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