FringeReview UK

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FringeReview UK 2022

Caesar and Cleopatra

It’s like being illumined from a trip-light.


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.


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.


Jack Absolute Flies Again

What Richard Bean and Oliver Chris manage is homage, both to Sheridan’s shade, his early bawdy, and despite anything a memorial to those who laughed at themselves to death. A must-see.


Julius Caesar

If you’re a habitual groundling, go before this production vanishes back on tour


King Lear

Rarely has a Cordelia and Fool scaled such equal terms with such a Lear, rendering a kind of infinity.


Much Ado About Nothing

The most convincing Much Ado for years


Much Ado About Nothing

This isn’t the most revelatory Much Ado, but the most consummate and complete for a while.


The Dance of Death

Highlights the truth of its bleak laughter. Humane Strindberg. Now there’s a thing.


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 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 Tempest

A joyous production, that without its gimmicky close, could certainly furnish a way in for many


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.