And it’s that time of year. Time to pick some winners for the whole of 2017. And, boy, there’s been some tough choices this time round. Some of these categories I’ve been certain of a winner for months, but for others I’ve been changing my mind repeatedly up to the very last moment. But I have made my decisions, so now it’s time to announce them.
As always, a reminder of the ground rules. Anything I saw for the first time this year is eligible, whether I wrote a review or not. This includes plays previously excluded from review coverage owing to conflicts of interest (that’s a teaser). The only notable exclusion is that plays I have seen in previous years from the same company are not eligible a second time round – this is so that the awards are not dominated by long-running successful shows. So this puts I Am Beast out of the running, something that was a previous runner-up for best production and would have been well-placed for several awards this time round.
So, who’s won? The list is drawn up, envelopes are checked, and any mix-ups involving La La Land are safeguarded against. Here we go.
Best New Writing
This was a tricky one, but not the the usual reason. This time, it came down to a question of whether the winning entry can be considered new writing. This means this year’s runner-up can be considered the winner if you disagree with my ruling. So in second place for best new writing (or first if you argue that the winner doesn’t count) is BlackCatfishMusketeer. There were a lot of good scripts this year, but the thing that stood out with this one was the fact that the entire play was written in instant messages on a dating app. As any writer knows, things that read well on the page (or screen) rarely sound so good when spoken, but Dylan Coburn Grey managed to do both. With a clever unexpected twist on the issue of trust, Malaprop Theatre comes out of nowhere to come so close to scooping one of the best awards.
So what went to a stewards enquiry but has gone on to win? It’s Patrick Marber with The Red Lion. Live Theatre’s production this year was not a premiere – that was at the Dorfman Theatre (the smallest of the three spaces in the National Theatre) in 2015. In the end, I made a decision based on what this award recognises: a successful production on the strength of a conventionally-written script, as opposed to a production that does a good production of an earlier well-known play, or a play whose script was a joint effort of the cast – both of those have their own awards. And there’s a lot to be said about Patrick Marber’s script here: a four-way power-struggle in the world of non-league football, where alliances and ambitions rise and wane on the dealings of three men in the dressing room of the club they all call home. It’s a world he knows intimately, a world he’s creating convincingly on stage, and the characterisation of the three men – all with their own hopes, strength, fear and weaknesses – is superb. It may be second time lucky for this play to gain a successful West End run, and it’s a wonder that the National didn’t make more of this the first time round, but, hey, the National’s loss is Live Theatre’s gain. Continue reading