FringeReview UK

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FringeReview UK 2022

A Doll’s House Part 2

The best Part 2 we can imagine.


Cancelling Socrates

Howard Brenton touching eighty is at the height of his powers. Tom Littler has assembled a pitch-perfect cast, reuniting two from his outstanding All’s Well. This too.


Cluedo

An object lesson in comic timing; a steep cut above the ‘real’ whodunnits we’re likely to see this year or next.


For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy

Turns the bleakness of six young men into a celebration of – for now – coming through


Hamlet

A great Hamlet almost realised


Henry V

The definitive Henry V of our time


Henry VIII

A wonderful score and musicians, above all Bea Segura’s titanic act of shrivelling, make this a must-see.


House of Shades

There’ll be nothing more blazing or relevant on the London stage this year.


How It Is Part 2

Immersive, outstanding, unrepeatable and unimaginable anywhere else


Marys Seacole

No simple swapping of heirs and originals, but a dream of the future by Seacole, or equally present dreams raking the past. Do see this.


Middle

Judging by the audience, its bleakness tells. Middle bears its own epiphany.


Much Ado About Nothing

The most convincing Much Ado for years


Orlando

A gem of a production, Taylor McClaine a soaring talent to watch.


Quentin Crisp: Naked Hope

Ask yourself this. If there were no praise or blame – who would I be?


Storming!

Stands alone, a wholly original twist to a growing alarm-bell of ethics.


Straight Line Crazy

Danny Webb gives the performance of his life. Ralph Fiennes is coiled majesty. Two-and-a-half hours of such material have rarely been so thrilling.


That Is Not Who I Am

Lucy Kirkwood prophesies what’s in store with savage fury, and no-one’s exempt, least of all her.


The 47th

A must-see.


The Corn is Green

There’s many reasons to see Williams’ finest play. To realise our potential it’s not enough to have dreams, but for someone to show us what those dreams could be.


The False Servant

It’s not just gender-swerving but role-swerving that threatens sexual and social order. Surprises light up even the last fade.


The Father and the Assassin

There’s no finer dramatisation of India’s internal conflicts. Shubham Saraf’s Gandhi-killer Godse stands out in this thrilling ensemble and storms it too.


The Homecoming

Simply put: go see this if you’ve any feeling for postwar drama. It’s theatre on the rack and do we need it!


The Marriage of Alice B. Toklas by Gertrude Stein

Such exquisite works find their time; speak to it again and again and again.


The Merchant of Venice

A reading of Adrian Schiller’s Shylock as probing as other great productions of the past decade; and of Sophie Melville’s nearly-rounded, brittle Portia.


The Misfortune of the English

Pamela Carter’s schoolboys embody human connectedness, warmth, a final camaraderie before the chill of history. Unmissable.


The Paradis Files

Not so much an event as a concentration of Errollyn Wallen’s genius celebrating the life of blind composer Maria Theresia van Paradis, in Graeae’s world-class production


The Southbury Child

Perfectly freighted; each character pitched with just enough choice to make us wonder what life, not Stephen Beresford will do with them. Outstanding.


Tom Fool

Pitch-perfect and compelling. Sometimes knowing your prison walls too much can drive you mad.


Turpin

Catch this sharp-witted, reflective, ever-swirling drama from a master storyteller.


Two Billion Beats

Two Billion Beats was bursting with promise before. Now it delivers with a visceral yes.


two Palestinians go dogging

Packs a mighty question that can still knock you off balance.


Waiting for Godot

A Brechtian take on Samuel Beckett's iconic play


When We Dead Awaken

Ibsen’s elusive masterpiece is so rarely performed seeing it is an imperative. Played with such authority as here, in Norwegian and English, it’s not a luxury but a must-see.