FringeReview UK
Years: 2025 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015
FringeReview UK 2025
Over 50 minutes, a compelling, unique and disturbing vision unravels: prophesying prophesy is invisible. That’s why as many as possible should see it.
Belly of the Beast should be a set text in schools. And should definitely tour there.
Billy Barrett and Ellice Stevens After The Act Royal Court Downstairs
Most of all this musical is necessary. With four outstanding multi-roling performers, a message both affirmative and defiant; and with a fierce joy that makes it a must-see.
Claire Dowie H to He (I’m Turning into a man) Finborough
A must-see for anyone who loves breakthrough: genre-defying, then genre-defining theatre.
Emphatically theatre worth doing, worth attending, worth fighting to clarify and worth being changed for.
For a bijou summer in a bottle, this can’t be beaten. Exquisite, painfully funny, and hinting at the depths Mackenzie found to his own chagrin. A gem.
A must-see one-person coffee-black comedy, it lasts a full 90 minutes. Libby Rodliffe is a phenomenal performer. And uproarious.
Khawla Ibraheem A Knock on the Roof
What and who can you choose is something more people are forced to decide as the century rolls. But Mariam’s plight is specific, ongoing, now far worse and essential viewing.
Sarah Rickman and Ciara Pouncett have assembled a superb team. They need to revisit the script once or twice more and they’ll have a winner.
Everything built up, like a corset, is unloosed. What we thought we knew we don’t. Outstanding.
Natasha Cotriall (God Save My) Northern Soul
Time will deepen the shadows and writer/actor Natasha Cotriall shows this in the very last moment.
Natasha Cottriall (God Save My) Northern Soul
Time will deepen the shadows and writer/actor Natasha Cottriall shows this in the very last moment
When Doll Common claims “Life’s like a storm. Don’t get in its way” one thinks of the stoicism of those in the eye of it, and their audience. A consummate revival.
Austen fans can feel they’re delivered the story’s heft, if not all its socially pinched circumstance. It’s a small gem.
Anna Morris heightens tragedy and misogyny with gags, humour and farcical horror. Do catch this fleeting gem, running for just two more weeks before it touches down
At a time of racialised targeting – a distraction technique born of the very forces Jayaben Desai fought – Grunwick speaks with startling relevance.
