FringeReview UK
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FringeReview UK 2024
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Don’t go expecting searing insights, but do go for a crack ensemble who will surely turn many to Shakespeare. An endearing and uplifting enterprise.
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A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
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In and Out of Chekhov’s Shorts
Outstanding. After this, there’s no other way to tell Chekhov dramatically that he’s not already nailed down in a play himself. Chekhov would have loved it.
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This smouldering production – fast-talking or timeless - fully engages with the play. It makes almost perfect sense: and two families’ DNA ring true as rarely before.
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A triumph of tone, of textual intercourse and tight-reined spirits. Beatrice’s star is dancing. It’ll stay fresh as the feelgood Shakespeare this summer.
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With institutional racism and trauma compounded in a feedback loop, this Othello’s a timely, and timeless broadside on everything toxic we inhale and expel as venom.
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In a female-led cast led by the eponymous Richard III (Michelle Terry) it’s striking that the trio of cursing women is this production’s highlight
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A bit of theatrical democracy invoking pre-democracy crafts an exquisite irony for a rainy afternoon. Do see it.
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The Bible in Early Modern Drama: Robert Owen The History of Purgatory
Dr Will Tosh leads a discussion The Bible in Early Modern Drama. Absorbing.
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There’s so much to admire here that it’s a happy duty to urge you to see it, if you can, any way you can.
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Richard Brome’s 1637 The English Moor marks a new departure for Read Not Dead. You might say with this play it’s Read to be Dead.
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An extraordinary production. Thorne’s vision is capped by a riveting performance by Gatiss, who glows with the still, sad music of Gielgud’s humanity.
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This is the greatest one-man performance I’ve seen, said a Chekhov-immersed director of 45 years’ experience next to me. Yes.