Fringe Online 2020
Groundbreaking. The smallest producing theatre in the West End through lockdown has become the largest.
With Baum’s direction they and we discover new thresholds, new anatomies
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
Might be the finest Globe Dream
Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.
A Coriolanus memorable for politics sinewed with personal forces: an active interrogation of democracy. And in Josie Rourke’s production Tom Hiddleston’s someone riven by intimations of his true self
Join and revel – they’re not anywhere near ended.
In Michelle Terry’s quicksilver, quick-quipping Hamlet, much has been proved, from interpretive to gender fluidity in tragic action, that sets a privilege on being in at a beginning.
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 tedious brief tragedy? King John is fun… It’s been said.
Outstanding. An immediate comic classic.
Do see this.
Completeness is just one reason to cherish this clean-driven clear-headed production
This magnificent revival poses even more urgent questions. A twitch on the thread for all of us.
A fleet traversal memorable for insights the company bring during and after their performance of it
One of the two most cogent, most fun Merry Wives of recent years.
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 stupendous undertaking
The OFS are taking flight with the best scratch nights the Elizabethans never had.
We’re looking at a bright Book of Hours. Barrie Rutter’s done it profound service, adding a warmth and agency that opens up this pageant. This is hopefully just the first of many such he’ll bring to the Globe.
Enjoy its slow burn miracles.
Far more than a curate’s egg, this production reveals things we’ve never seen
Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.
Everyone dies in the end.