Brighton Year-Round
Years: 2024 2023 2022 2021 2020 2019
Brighton Year-Round 2023
Beginning is the kind of play we all know we need: wincingly heartwarming, devastatingly joyous. It’s quite wonderful. Don’t miss it.
Fisherman’s Friends: The Musical
A glorious night out, a wonderful cast and in Shahmir a mesmerising star in the making.
There’s a clever containment in Home, I’m Darling that reminds us yet again of Laura Wade’s lucidity and power. Since she’s written it, it seems more like a prophesy.
A revelatory production of what we must now think of as a small masterpiece, where Ayckbourn and Chekhov echoes recede to Charlotte Jones’ uniqueness. Jones really deserves her place in the forefront of contemporary dramatists. Humble Boy confirms its own place, pivotal to her oeuvre which has grown more robustly and cleverly than the flora or indeed bees that ululate to the end.
Most of all, this couple capture the feel of the Orton/Halliwell exchange, the chemistry, the aromatic stink of sex from Craig Myles’ Orton, the sweat and self-disgust of Tino Orsini’s Halliwell. John Dunne’s created an Ortonesque, almost What the Dramatist Saw version of events. Orton might have liked that best. And Halliwell, narrating his own death in Orsini’s delivery, been appeased.
Lemons Lemons Lemons Lemons Lemons
Think Nick Payne’s Constellations meets Duncan Macmillan’s Lungs. If you love new theatre, queue for returns.
If you know Judy Upton as a playwright you might have an inkling what to expect in this debut fiction. Witty, observant, self-deprecating, very funny, full of subversive glee, with its own moral field. I’d put nothing past this extremely gifted writer
The most lucid-voiced Rocky I’ve seen and on balance strongest cast for a long time. Two great reasons to return, or adventure for your first awakening on Planet Transexual.
Martin Malone more than revives Edward Albee’s 2002 masterpiece The Goat, at the New Venture Theatre; he rethinks how we can receive it. An exemplary revival of a play Michael Billington named one of his 101 Greatest – even over Who’s Afraid of Virginia Woolf? Make up your own mind; see it. Martin Malone more than revives Edward Albee’s 2002 masterpiece The Goat, at the New Venture Theatre; he rethinks how we can receive it. An exemplary revival of a play Michael Billington named one of his 101 Greatest – even over Who’s Afraid of Virginia Woolf? Make up your own mind; see it.
Surely the Sarah Mann Company’s finest hour, overcoming the BOAT’s wondrous yet treacherous acoustics – and weather. Alan Bennet’s 1991 The Madness of George III is their most ambitious, most jaw-dropping production. This magnificent revival poses even more urgent questions. A twitch on the thread for all of us.
