Brighton Fringe
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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.
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.
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.
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.
Musical theatre that motors along the canals of England with women at its heart and helm.
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.
