Some shows are born great, some achieve greatness, and others have greatness thrust upon them.
In the world of theatre, that “thrusting” is largely down to London’s theatre critics, who score new West End premieres from one star (or maybe even no stars) to an impressive five stars.
A single top-tier review can change a show’s fortunes, but to truly be considered a masterpiece of the season, a show needs to achieve a rare level of critical consensus. For this round-up of 2025, our criteria are shows that earned three or more five-star reviews from the major publications, marking them as the definitive “must-see” events of the year.
Also see:
All My Sons (Wyndham's Theatre)
Bryan Cranston makes a blistering return to the London stage in Ivo van Hove’s minimalist, interval-free reimagining of Arthur Miller’s classic All My Sons. Critics were unanimous in their praise for the production’s unbearable tension and the powerhouse performances from the entire cast.
Wyndham's Theatre, London
Paddington The Musical (Savoy Theatre)
This “West End hug in musical form” proved to be a triumph for all ages – including the critics, featuring a bright, hummable score by Tom Fletcher. Reviewers hailed Paddington The Musical as a joyful and technically spectacular adaptation that captures the heart and mischief of Michael Bond’s beloved bear.
Savoy Theatre, London
Oliver! (Gielgud Theatre)
Matthew Bourne’s fully reconceived revival of Oliver! brought a fresh, gothic energy to the Victorian streets of London. Transferring to the West End from Chichester, the production was lauded for its infectious energy and for making Lionel Bart’s classic score feel as vital as ever.
Gielgud Theatre, London
The Producers (Garrick Theatre)
Mel Brooks’ hilarious musical The Producers returned to London with a “fantastically sharp” production that left critics in stitches. Starring Andy Nyman and Marc Antolin, the show was celebrated for its high-energy tap numbers and its unapologetic, old-fashioned entertainment value.
Garrick Theatre, London
Into the Woods (Bridge Theatre)
Opening just before Christmas, Jordan Fein’s “pure magic” revival of the Sondheim classic Into the Woods transforms the Bridge Theatre into a lush, immersive forest. Boasting an “immaculate” cast led by Kate Fleetwood and Katie Brayben, the production was praised for its perfect balance of fairytale levity and emotional darkness.
Noël Coward Theatre, London
Dear England (National Theatre)
James Graham’s Olivier Award-winning “love letter to football” Dear England made a triumphant return to the Olivier stage in 2025, updated to reflect Gareth Southgate’s final chapter as manager. Critics once again fell for this “towering achievement,” praising its kinetic energy and Gwilym Lee’s masterful performance as he stepped into the iconic waistcoat.
Now touring the UK
Evita (London Palladium)
By far the best-reviewed show of the year, with NINE five-star reviews in our round-up alone, Jamie Lloyd’s minimalist, rock-infused staging of Evita turned the Andrew Lloyd Webber & Tim Rice classic into a visceral, modern event. Rachel Zegler’s West End debut was described as “nothing short of spectacular,” earning rave reviews for her gravitas and star power.
The Weir (Harold Pinter Theatre)
Conor McPherson’s haunting play The Weir about folklore and ghosts in a rural Irish pub proved to be a masterclass in atmospheric storytelling. Brendan Gleeson’s West End debut was a highlight for critics, who were captivated by the production’s intimate, “spellbinding” range of tales.
Natasha, Pierre and The Great Comet of 1812 (Donmar Warehouse)
This “groundbreaking” musical adaptation of Tolstoy finally arrived in London to ecstatic reviews for its eclectic, genre-defying score. Critics fell in love with the show’s emotional intimacy and the “breathtaking” choreography, directed by Tim Sheader at the Donmar Warehouse.
Much Ado About Nothing (Theatre Royal Drury Lane)
Tom Hiddleston and Hayley Atwell crackled with chemistry in Jamie Lloyd’s “giddy, 90s clubland” twist on Shakespeare’s comedy. The production was hailed as a “hallucinatory revelry” that managed to be both genuinely funny and masterfully romantic.
Punch (Apollo Theatre)
Following acclaim in Nottingham and at the Young Vic, James Graham’s powerful true story Punch about restorative justice moved critics to tears in the West End with its sensitivity and humanity. It was described as “essential viewing,” anchored by a captivating and authentic performance from David Shields.
Giant (Harold Pinter Theatre)
John Lithgow delivered a “towering” and “incandescent” performance as Roald Dahl in this provocative new play about the author’s controversial legacy. Transferring into the West End from the Royal Court, critics praised Mark Rosenblatt’s writing for its willingness to tackle complex, “troubling” political themes with sharp wit and insight.
Fiddler on the Roof (Barbican Theatre)
Transferring from the Regent’s Park Open Air Theatre, Jordan Fein’s “electrifying” production of Fiddler on the Roof maintained its magic on the Barbican stage. Reviewers were moved by the “lean, muscular” delivery of the ensemble and the profound compassion at the heart of Adam Dannheisser’s Tevye.
Stereophonic (Duke of York's Theatre)
This “blazing” drama about a 1970s rock band recording a masterpiece was hailed as a transformative theatrical experience. Critics praised the production for its forensic accuracy, its “transcendent” original songs by Will Butler, and its visceral exploration of the creative process.
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