Brighton Fringe
Years: 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007
Brighton Fringe 2023
It’s important Brighton welcomes such terrific all-encompassing shows such as this, sashaying hilarity and superbly-crafted storytelling with dance and poignant witness. You can’t go away a bit unchanged.
Anything by Alexander and Helen Millington is worth coming for. A Caravan Named Desire isn’t yet at the level of I Love Michael Ball but by the time you see it, it almost certainly will be. This is a team to watch and queue for.
Giles Cole’s extending from one wistfully comic short to a three-act Chekhovian elegy for the dance of age, is in a defining league of its own. A superb play, it will now reach the West End.
Dovetailing invention and quotation triumphs. It’s a narrative of thrust and weave as well as tone. Overall it's terrific: one of Richard Crane’s very best works. If you care for gripping drama, can be drawn by hypnotic verse and superb acting, haste over to this unique hour.
As someone who lists one of her pastimes as ‘spite’ Julie Burchill - who’s written the play Awful People with Daniel Raven – seems in remarkably forgiving mode. It’s a benign intergenerational tussle. Burchill and Raven have built up chuck-lists of late boomer assumptions. When the crisis arrives, outcomes are well-devised and pacy.
Daring and delightful clownfest from a fifty plus troupe that enages, inspires and impresses
Physical comedy debut by April Small; with a bit part for Zeus, puppet-deaths and an elephant themed singsong.
This is what theatre means. BLT and Nettie Sheridan strike gold with emerging talent here, starting their professional careers. It’s to Sheridan’s choreography too we owe a seamless ensemble production. Familiar BLT names blaze with a new fire and in every way there’s synergy between physical exuberance and indelible characterisation. Outstanding.
Chemistry is a consummate production. Yet again Sam Chittenden reminds us how theatre can punch holes into the future, partly to ensure they never happen.
Revolutionary songs sung by a lusty audience in the heart of Hove. A revolution in itself. If you’ve any sympathy, antipathy or subversive sense of humour towards a way at laughing at history’s atrocities, and thinking there must be a better way - this is the show for you.
Moving and incredibly powerful - A must see! Representation for Esther Ada Johnson, based on true life events.
If treating of some poets more fully than others, it reflects on what sticks in the aural memory without notes. It was however a memorable evening; the poets themselves will remain present, now their presence at least remains indelible.
Pete Strong maps his life through walks in nature in a poetic exploration of how we lift ourselves up and move on
As ever with Heather Alexander, this is a masterclass in acting. It’s also a masterclass in directing and technical address. The outstanding one-person show of the Fringe so far
An absorbing, extraordinarily well-written short play on letting go of your identity, the part giving it meaning. It’s also excoriatingly funny. On a mundane level, it’s case of ‘work won’t love you back’; on another, to quote the Narrator, this work’s not a noun but a verb. In addressing how we live up to the transcendence we create for ourselves, it affirms the unanswerable. The finest new short play of the fringe.
Alexander Millington’s I Love Michael Ball is, in the words of one director, the absolute spirit of the Fringe. That is, brilliantly oddball, in fact deranged. Millington, wholly in command, is winningly able to return us to the sanity of sheer good singing. So make a date.
Musical theatre that motors along the canals of England with women at its heart and helm.
A new solo show that combines puppetry, spoken word and theatre to bring an honest look at sex and trauma to Brighton Fringe 2023
The story of Indian Partition, as recounted by the 11 year old boy who bore witness.
A flawless production, where Lawrence gives one of the three or four finest performances I’ve seen this Fringe: in other words, phenomenal.
A profoundly joyous and a joyously profound show, touching on all those issues of assimilation, marriage drift and acceptance; as well as self-discovery. For most of all as Erin Hunter brings out with sparkling wit and straight looks, this is about women’s agency. Dive in, you’ll surface with a whoop.
The Burning of a Sicilian Whore (Blood Rain)
The tale of a seventeenth century courtesan, turned poisoner
Outstanding. Direction is revelatory, the musical cues from Logue’s own methods culminating on the finest single scene I’ve witnessed at BLT. Even if you’re from the Republic of Brighton and Hove, do push your way to the front for this one. A study of how a Republican humanises a man mired in the cerements of his own subjection holds lessons for us yet.
Very-well written, darkly comedic, more touchingly true, writer Paul M Bradley and Georgie Banks take this just as far as it’ll go. Highly recommended.
Though a slow, cumulative film, intensely personal and keeping to that, there are sudden sidesteps out – as with Newbury’s nurse, Freud, the Lear sequence – that pattern the message in lateral sidelight that tells. A slowly magnificent odyssey.
A journey via 1970's model cars digs into history, family and politics, connecting across the decades with art at its heart.
What can being in a game-show and acting as a Viking teach a 20-something man about life? A fact and fun-filled story written and performed by Tom Draper.
