Brighton Year-Round 2020
Family Album is possibly the most disastrous production this already unfortunate play has ever sustained. More, Coward would declare it’s a travesty; of genius. Hands Across the Sea is pitch-perfect in a slightly outré version of what Coward meant.
With Baum’s direction they and we discover new thresholds, new anatomies
A theatrical arcady on our doorstep
If you see one production this Christmas, see this.
Richly charactered, thoroughly absorbing.
Heartwarming, giddyingly vital yet clear with its own truth.
The final moments turn a superb revival into a masterpiece.
The blend of definitive and new cast members in a recent classic has overwhelming impact: as story, as lyric fable, as terrible moral for these distracted times.
A small masterclass in storytelling from the ground up
Three friends. Two decades. One unbreakable bond.
Don’t waste your ticket. Stay to the end if you dare.
Was Tupac depressed?
Here the shadows fall the more convincingly to join with those chimes at midnight in Henry IV/2.
An alert, dark-hued production. We have heard the chimes at midnight
A masterly, absorbing introduction to unknown composers
A deeply rewarding duo.
A tedious brief tragedy? King John is fun… It’s been said.
Confirms Mok confirms he’s a pianist bristling with oblique lyricism and spiky character – an ideal late 19th century-20th century interpreter.
A stylishly visceral production.
Someone you want back.
A one-woman, thirteen-moon wonder
A blissfully alive production.
A memorable start to 2020.
Wigmore Hall class playing
Like The French Lieutenant’s Woman, there are now two endings to Quartet. You must see this if you know the film only, or care about music, ageing, friendship and achingly lost love.
What happens when your life as you know it stops, and then starts again.
A deeply revolving production.
An Edinburgh International Festival, HOME Manchester, Spoleto Festival USA & Theatre de la Ville Paris co-production
A sublimely silly farce. BLT deliver with panache and punch. Believe the whispers.
A climactic Fantasia lifts the atmosphere of this recital to something quite apt. A superb debut.
Another pianist to welcome back before he gets snapped up, even in this climate. Superb.
A terrific journey. We need more of this.
Stewart Lee is Marmite
Mark Wilson and his team triumph in a whisper, and a restraining cry.
A joyful fleet production, a more-than-rough magic. What renders OFS unique is their fearlessness: a humour and zest to tear into buried Shakespeare, read the entrails.
A triumph. Nearly flawless, it must be seen by anyone interested in contemporary drama.
A literally thrilling two-plus hours
We’re privileged to see this rarely-performed work moulded by OFS. A play for our times.
The definitive Vanya for our times
A memorable debut, with welcome original repertoire
This dragon's on fire