Jake Gyllenhaal and Tom Stoppard are among the names bringing shows to UK stages in 2020Sarah Hemming January 2 2020
As we soberly contemplate all those New Year’s resolutions that seemed such a good idea before the cold light of dawn set in, help is at hand. A recent study published in the British Medical Journal found that going to the theatre could extend your life. Research led by Dr Daisy Fancourt of UCL discovered that frequent engagement in cultural activities could mean a lower risk of dying. It seems that science has now confirmed what we theatre-lovers knew all along: theatre does you good.
And the excellent news is that in 2020 there is plenty to get us into shape. To kick-start our bid for longevity, we can look to one of our most dazzling and audacious playwrights: Tom Stoppard, who, aged 82, starts the year with a bit of heavy lifting. A new Stoppard is always an event and the dramatist launches the decade with an epic premiere. Leopoldstadt (Wyndham’s Theatre, London, from January 25) follows one Jewish family from Vienna through the first 50 years of the 20th century. It’s clearly a very personal story (Stoppard’s own family, though Czech rather than Austrian, fled the Nazis and his grandparents died in the camps), but it could also have chilling contemporary resonance, given the rise in anti-Semitism and populist politics. A 26-strong cast (including Stoppard’s son, Ed) is directed by Patrick Marber.
New decade, new writing too at the National Theatre, which plunges into 2020 with a major piece from Lucy Kirkwood (Chimerica, Mosquitoes). Kirkwood has a terrific way of digging into huge, geopolitical questions through vivid personal narratives and her new work, The Welkin (National Theatre, London, from January 15) is typically ambitious. Set in rural Suffolk in 1759, it explores what happens when a jury of 12 matrons is summoned to decide whether a young woman sentenced to hang is genuinely pregnant or not. It’s a drama that will fill the Lyttelton stage with a largely female cast, led by Maxine Peake.
In the National’s Olivier, meanwhile, Tony Kushner returns for the first time since the stonking 2017 success of Angels in America with a new version of Dürrenmatt’s The Visit (from January 31).
The Royal Shakespeare Company also offers a moral and political workout in the shape of an epic, historical piece, this time focusing on the early 19th century and the abolition of slavery. The Whip (Swan Theatre, Stratford-upon-Avon, from February 1) by Juliet Gilkes Romero considers the price of freedom: is the cause worth a multi-billion-pound pay-off to the slave owners?
If it’s a spot of cardio we are after, there is pulse-quickening casting all over the UK stage this year. At the Old Vic, Hollywood star Timothée Chalamet and theatrical royalty Eileen Atkins take up residence in Amy Herzog’s Pulitzer-nominated two-hander 4000 Miles (Old Vic, London, from April 6), about unlikely housemates 21-year-old Leo and his 91-year-old grandmother. Daniel Radcliffe and Alan Cumming will be in the same space just before them in a new staging of Beckett’s mordant existentialist classic Endgame (Old Vic from January 27).
Other promising revivals include Toby Jones and Richard Armitage as Vanya and Astrov in Conor McPherson’s new version of Chekhov’s masterpiece Uncle Vanya (Harold Pinter Theatre, London, from January 14) and, a month later, Roger Allam and Colin Morgan as father and son(s) in Caryl Churchill’s brilliant cloning drama A Number (Bridge Theatre, London, from February 14).
In summer, Isabelle Huppert arrives at the Barbican as the overbearing mother in Tennessee Williams’ heartbreaking The Glass Menagerie, directed by man-about-globe Ivo van Hove for the Odéon-Théâtre de l’Europe (Barbican, London, from June 5). Cush Jumbo, meanwhile, becomes the latest female actor to have a crack at the gloomy Dane in Hamlet (Young Vic, London, from July 6).
Elsewhere we have men on a mission. Rhys Ifans plays Atticus Finch in the UK premiere of To Kill a Mocking Bird, adapted by Aaron Sorkin from Harper Lee’s novel (Gielgud Theatre, London, from May 21). And you can find the mercurial Mark Rylance at Bristol Old Vic this summer in the premiere of Semmelweiss, written by Stephen Brown and directed by Tom Morris, about the pioneering 19th-century Hungarian physician Ignaz Semmelweiss, who controversially recommended antiseptic procedures in childbirth (Bristol Old Vic from June 13).
One of our most active directors last year was Jamie Lloyd (following up his sizzling Pinter season with a stupendous Cyrano de Bergerac), so you might expect him to take it easy in 2020. But on the contrary: already on his agenda are two classic revivals. Emilia Clarke makes her West End debut as Nina in Chekhov’s The Seagull (Playhouse Theatre, London, from March 11) and Jessica Chatlain plays Nora in Ibsen’s A Doll’s House (Playhouse Theatre, London from June 10). Nora also pops up at the Young Vic, in Stef Smith’s reworking of the original (Nora: A Doll’s House), set in three different eras (Young Vic, London, from February 5). It seems Ibsen, man of the moment last year, is still in vogue.
Away from this intense core work, in the high-energy musicals corner you’ll find Imelda Staunton in Hello, Dolly! (Adelphi Theatre, London, from August 11), directed by Dominic Cooke (this pair worked together on the National Theatre’s sumptuous Follies, so anticipation is high). And what about Jake Gyllenhaal, reprising his Broadway performance as painter Georges Seurat in Sondheim’s groundbreaking musical Sunday in the Park with George (Savoy Theatre, London, from June 11)?
Other eye-catching musical openings include Frozen, looming like an icy peak on the horizon and destined to give everyone an earworm of “Let it Go” (opening the refurbished Theatre Royal Drury Lane, London, in autumn), and (great Scott!), 1985-time-travelling movie Back to the Future, which touches down in Manchester ahead of a London transfer (Manchester Opera House from February 20).
Finally, for anyone who was slow off the mark last year: some of the best 2019 shows are back. There’s a new appointment for The Doctor, Robert Icke’s revelatory Schnitzler adaptation starring Juliet Stevenson (Duke of York’s, London, from April 20). Sheffield Crucible’s hugely praised, puppet-led Life of Pi, adapted by Lolita Chakrabarti, arrives in London (Wyndham’s Theatre, London, from June 22). And, for a spot of excellent exercise for both the grey matter and laughter muscles, Laura Wade’s sparkling Jane Austen spoof The Watsons moves into the West End (Harold Pinter Theatre, London, from May
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And if you’ve still got time for a turn on the exercise bike after all that — well, it probably won’t do any harm.