FringeReview UK 2022
It’s like being illumined from a trip-light.
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.
A great Hamlet almost realised
The definitive Henry V of our time
A wonderful score and musicians, above all Bea Segura’s titanic act of shrivelling, make this a must-see.
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.
If you’re a habitual groundling, go before this production vanishes back on tour
Rarely has a Cordelia and Fool scaled such equal terms with such a Lear, rendering a kind of infinity.
The most convincing Much Ado for years
This isn’t the most revelatory Much Ado, but the most consummate and complete for a while.
Highlights the truth of its bleak laughter. Humane Strindberg. Now there’s a thing.
It’s not just gender-swerving but role-swerving that threatens sexual and social order. Surprises light up even the last fade.
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.
A joyous production, that without its gimmicky close, could certainly furnish a way in for many
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.