Best London shows of 2025 and how to to see them in 2026
In 2025, I saw 61 productions, which is more theatre shows than I’ve ever seen in a single year. From large-scale West End productions to revivals and transfers, these five stood out for their storytelling, performances, and overall impact.
All of them are still playing into 2026, so if you’re planning what to see next, these are well worth prioritising.
If you would like to see more shows in the new year, join my 2026 theatre challenge here: https://www.kristinaemily.com/theatre-challenge
1. Paddington the Musical
This was, without question, my favourite show of the year, and the one that surprised me most.
I went in cautious. Paddington felt like something aimed at children, and I wasn’t sure how a stage version could match the emotional pull of the films. The biggest question was simple: would the bear be believeable? The answer was an immediate yes.
The combination of Arti Shah (in the costume) and James Hameed (voice and facial performance) creates something truly unique. Their collaboration is seamless, and Paddington feels completely alive. It’s a masterclass in how innovation, diverse casting, and straying true to the source material can bring this bear to life in such wonderful way.
The score by Tom Fletcher is another triumph. The music captures warmth, humour, and emotional depth, from songs celebrating London’s diversity to darker moments about growing up, relationships, and belonging. And the villain number, Pretty Little Dead Things, is a genuine standout.
Set in the heart of London at the Savoy Theatre, this production feels like a love letter to the city itself. With its current extension running until 2027, Paddington the Musical feels like it’s here to stay, and deservedly so.
2. Into the Woods (Bridge Theatre)
After a long wait, this production finally arrived, and it was absolutely worth it.
Stephen Sondheim and James Lapine’s Into the Woods blends classic fairy tales into a story about wishes, consequences, and what happens after happily ever after. This Bridge Theatre revival leans fully into both the magic and the realism of the piece.
The score, from Giants in the Sky to Moments in the Woods, is delivered with clarity and intention. The sound design is particularly impressive, with spatial audio throughout the theatre that enhances storytelling rather than distracting from it.
The cast truly is the crème de la crème of British musical theatre, including Kate Fleetwood, Chumisa Dornford-May, Oliver Savile, Grace McGonigal, Katie Brayben, and Jamie Parker. Individually excellent, they work even better as an ensemble.
Visually, the production is striking. The woods feel grounded and real, while the lighting adds layers of colour and atmosphere that constantly reshape the space. Running until May 2026, this is essential viewing for Sondheim and musical theatre fans alike.
3. My Neighbour Totoro
Adapted from the beloved Studio Ghibli film, My Neighbour Totoro uses extraordinary puppetry to bring childhood imagination to life. Totoro himself requires multiple performers working in perfect coordination, and the result is astonishing.
The original score by Joe Hisaishi, adapted for the stage, is performed by musicians positioned around and onstage, making the entire theatre feel alive. From the Catbus to the forest spirits, every moment invites wonder.
It’s a show for children, adults, and anyone who still believes theatre can feel genuinely magical. If you want to reconnect with your inner child, this is the one.
My Neighbour Totoro is in London until August 2026, and tickets go for as low as £25.
4. Oh Mary
Unhinged, fearless, and completely unlike anything else this year.
Written by Cole Escola, Oh Mary reimagines Mary Todd Lincoln as an erratic, alcoholic cabaret hopeful, with Abraham Lincoln as a closeted gay man. It’s absurd, sharp, and knowingly ridiculous.
Mason Alexander Park is electric as Mary Todd, fully committing to the chaos, while Giles Terera amplifies it with his delivery of Abraham Lincoln. The humour is bold and divisive but if you lean into the silliness, it’s incredibly rewarding.
Playing until April 2026 at the Trafalgar Theatre, this is the show to see when you want to laugh and feel slightly shocked.
5. All My Sons
This was one of the most impactful plays I saw all year.
Arthur Miller’s 1947 classic still feels painfully relevant, raising questions about moral responsibility, family loyalty, and the cost of business decisions. Directed by Ivo van Hove, with scenic and lighting design by Jan Versweyveld, the production adopts a “less is more” approach that lets the story breathe.
The cast, including Bryan Cranston, Marianne Jean-Baptiste, and Paapa Essiedu , delivers deeply grounded performances. The pacing is relentless, and the emotional weight builds steadily until it becomes impossible to ignore.
All My Sons is closing in March 2026, this is an essential theatre viewing while you still can.
Honourable Mentions
The only reason why these two shows are honourable mentions is because you can no longer catch them in 2026 in London, but these shows are within top 5 I’ve seen this year and Broadway audiences will have a chance to witness them soon.
Evita
Although you can no longer see this production in London, Evita was one of the defining theatre experiences of my year. I saw it three times, which says everything about its impact on me.
This was a bold, contemporary reimagining by Jamie Lloyd, who transformed a well-known musical into something that felt urgent and relevant for today’s audiences. The production moved relentlessly, sung-through and choreographed throughout, creating an intensity that never let up.
Rachel Zegler’s Eva Perón was gripping, modern, and fearless. She brought a sharp edge and emotional clarity to the role that made the character feel immediate rather than historical. Alongside her, Diego Andres Rodriguez’s Che was magnetic, anchoring the show with a commanding presence. The rest of the cast matched that energy, creating a company that felt completely unified.
The lighting, choreography, and orchestrations worked together to give the production its distinctive style, and the result was a piece of theatre that felt uncompromising and alive. While it may be gone from London, I’m keeping everything crossed that Broadway audiences get the chance to experience it next.
Every Brilliant Thing
Every Brilliant Thing was one of the most quietly moving shows I saw this year, and one that stayed with me long after leaving the theatre.
The play centres on the creation of a list of “every brilliant thing” as a way of coping with a parent’s mental health struggles. What makes this production so powerful is the way audience participation is handled. It’s thoughtful, gentle, and genuinely connective, turning the room into a shared experience rather than a passive one.
Delivered as a one-actor show, the storytelling feels intimate and deeply human. It balances warmth and humour with emotional honesty, offering real insight into the complexity of mental health, grief, and care without ever becoming heavy-handed.
This is a piece that reminds you why theatre matters — how it can bring people together, foster empathy, and create understanding. With Daniel Radcliffe taking the role on Broadway in February 2026, the story continues to reach new audiences, and that feels exactly right for a show with this much heart.
🎭 Join my 2026 theatre challenge here: https://www.kristinaemily.com/theatre-challenge
