FringeReview UK 2019
This is a superb revival; its tinted mirror keeps burnishing.
With vintage Ayckbourn funny is devastating. Vintage BLT too.
It grips from start to finish… a huge achievement.
A truly outstanding young talent
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
A revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
A phenomenally well-written first play
Absorbing. A must-see.
Convinces you All My Sons is even greater than we know.
An exceptionally interesting, exceptionally delivered programme
It’s still revolutionary.
Funny, sassy, disturbing, necessary.
An outstanding debut.
With clarinet piano and soprano, a gloriously rich vocal recital
Heartwarming. It has the brash conviction of it origins, out and proud of it.
Thoroughly absorbing, full of walking shadows who throw vivid questions.
With Angela Smith’s phrase ringing in our ears, there’s not going to be a better play anywhere that answers it. Do see it.
Still masterly, and in this rare revival, a must-see.
The whole family’s rightly going to stardom. Here’s two of the seven.
Beguiling and barnstorming in equal measure.
Iruzun’s a master and this recital was a revelation.
They deliver, in Costa Blanca spades.
You must see this.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
Devastating drama about the DNA of bigotry; and it all starts in surreal farce.
A wonderful debut.
A stunning solo debut.
Dismantle this space? Yes. This theatre at least can take it.
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
Could this be staged any more convincingly? Superb.
A flinty lesson, not to be missed.
A terrific performance.
We really need this quartet back.
A mesmerizingly first-class recital.
You’ll know the film. Despite the volume, you should know this.
A unique, consummate line-up
Riveting must-see revival of Mamet's breakthrough play
You must queue to see this. It’s quite wonderful.
In all the flurry of Fringe, don’t miss this gem.
A pianist of integrity and gritty lyricism
I’ve not seen a festival of short plays to compare with these.
Visceral and sometimes very very funny. Then not. Essential viewing.
Compelling dissection of what hampers the mindset of our main progressive party.
Another superb Collins recital
Another absorbing Collins recital
Great debut and homecoming in one duo.
A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
Yet again NVT deliver small gems of Americana. See it.
A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
Vertiginous, tricky and exhilarating
Vocally adventurous yet again, a joy to hear
A composer one delights in
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
A must-see cry for love and tolerance
Consummate and distinctive music-making with repertoire nearly forgotten.
A superb revival.
Anything Zoe Cooper writes now must be keenly anticipated.
A first rate-revival of a small classic. Do seek out this rare, dream-like play.
A searing arc of a drama based on true events
I’ve heard no interpretation remotely near it.
An elegant case for this unique repertoire and its sovereign performers.
We need more concerts like this.
We’re very lucky to be here.
A savage anointing, a revelatory reading.
A searingly precise essay on the corruption of entitlement.
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
‘Best three pounds I’ve ever spent’
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
A reboot for the future, a passport for change.
Both this recital and its repertoire remain special
Terrific impact, and complete musicians.
A searing new talent.
You won’t hear anything like this, and you should, next time.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
Prepare to be Tartuffed.
It’s imperative to see this production.
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
Unmissable in this – er, newly enhanced production.
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
Sleep as well as you can. The house won’t.
A groundbreaking production. Even outside its unique terms it’s outstanding.
We need NVT to continue presenting us with plays like this.
It is the definitive musical about biscuits
An outstanding production, rescuing a classic from attic shadows.
If you care for grippingly argued, passionate theatre, you must see this.
13.10 is a good lunchtime to watch a Mam’s legend in.
This absorbing production keeps growing in the mind, like to take root.
It doesn’t get much better than this.
This cast’s exemplary dedication deserves watching for their sheer performative belief.
An exemplary, deeply satisfying recital.