FringeReview UK 2020
Brenton powerfully concertinas a continent’s politics and one artist’s refraction of it. Wong is outstanding
Stoppard looks at society’s phantom limb ethic. Even when it’s gone it aches, and it aches to have someone opting out.
A landmark production
Miraculously-attuned. A wafer-thin but absolutely genuine slice of Chekhov. Do see it.
Victoria Hamilton still dominates, but Albion’s a fine ensemble piece. Goold has given Albion the air it needs: an unsettling parable on forcing an identity of ourselves.
A miniature classic of snatched meaning. Catch it.
Did I say sucker-punch? It’s what the Orange Tree do every time.
Still an outstanding production we might take for granted.
The great discovery was the multi-roling Marcus Lovett, sexy and lethal, able to attack several roles and convince you he was born for them, even into them.
Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.
Barber Shop Chronicles is a breath-taking revelation for those of us who had small inkling of a world in miniature.
A powerful telling of the personal accounts of eight recipients of the Medal of Honour.
A thoroughly enjoyable period-style musical.
Easily the finest production we’ll get
A first-rate distillation of cop drama, into the theatre of cop’s lives.
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
Devastating drama about the DNA of bigotry played as surreal farce.
James McAvoy is peerless and his companions are Asterix-hot.
This work never loses its charge, its own rapturous arrival Spall gives the performance of his career so far.
Terrific, a harrowing education.
Our greatest playwright since Beckett and Pinter. An outstanding revival. Hesitating?
The acting scales cliff-edges of unreason. One remembers the scale of betrayal and loss of redemption
The acting scales cliff-edges of unreason. One remembers the scale of betrayal and loss of redemption. Benedict Cumberbatch here is Frankenstein, Jonny Lee Miller the Creature. The alternate version aired first is still available.
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.
The most effective condensation of the pith of the trilogy we’re likely to see.
Will leave you in a heap and wonder what else Lauren Gunderson has written that comes near this.
There’s no reason not to see this rare gem
You’ll never see a better adaptation of this classic
A sovereign production, unlikely to be equalled for the foreseeable
A salutary reminder of how a great musical talent and collaboration started
It’s Jermyn Street. If you can, see it.
A strain of greatness.
Performances and play that should turn us upside down. Do make a detour for this brave. tremulously beautiful coming of love.
One of the most fascinating dark-hued musicals Lloyd-Webber’s written
Stef Smith’s brilliant riff on Ibsen’s original is revelatory
An enduring little classic of Englishness on the turn, out of the ideal-exhausted Seventies and on the edge of darkness.
Outstanding. An immediate comic classic.
An extraordinarily assured debut
Do see this.
Completeness is just one reason to cherish this clean-driven clear-headed production
Scenes with girls owns a buzz, a life, a difference about loving that gives it a sliver of unique.
A funny, touching story of a life almost lost
Katherine Parkinson inhabits that breaking through the office crust asphyxiating us
A unique take on the isolation foisted on all of us
Ambition treads on teenage dreams and their devastation.
You hope, unfairly, for a sequel.
I want to know what life, not just Paul Minx will do with his characters afterwards. So will you.
Intricate, fiercely intelligent, this play packs far more force than some twice its length. Sarah Lawrie’s intensity is magnificent.
Still a brave and beautiful play.
The Albert Hall’s sovereign production, unlikely to be surpassed particularly with the special encore.
Treat this as a wonderful premiere you’ve not had to stir for.
Phenomenal singing all round. A more than solid recommendation for that alone.
A pitch-perfect revival. Even down to the dial-up screech.
See it and you’ll never think of the Shrew without this groundbreaking stab at the dreams of men.
Nico Holonics’ blaze-through avatar is unlikely to be surpassed.
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.
Kushner’s just brought The Visit home with him.
Already a contender for one of the best plays of 2020.
Enjoy its slow burn miracles.
Far more than a curate’s egg, this production reveals things we’ve never seen
Vibrant proof as to why it’s been called the play of the decade
Tells us more truthfully then any play has, the heroism that hardens, the sacrifice that endures.
First-rate theatre. In Joshua James’ Ben Gunn and above all Pasy Ferran’s Jim, we see stars rising quicker than Arthur Darvill’s superb Silver can point them out.
Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.
Theatrically the most thrilling end to any Bartlett play
A stylish, timely production which redefines how we experience Middleton.
Outstanding. Surely the definitive study of the dignity of physical labour, and breaking of its amity.
Bleakly funny, with flickers of tragedy, to make you see how redemptive kindness is