FringeReview UK 2021
Even more than 2019, a carnival riot of joy – with enough misdirection to evoke moonshine
Consummate, the complete Dolly-d up experience.
Yomi Sode’s hybrid theatre is a compelling immersion of witness and poetry: we need more of it.
Three very fine and one outstanding work, Scratches – the best kind of play on depression, self-harm, black holes. Because it’s screamingly funny and deeply connected to why we do theatre.
Issy Van Randwyck brings seven divas to life in this paean to tragic fulfilment.
Jumbo’s Hamlet strips out accretions and ghosts you into asking who or what Hamlet is. See it if you possibly can.
Its potency lies in a fine peeling apart by Adrian Lester and Danny Sapini, and the language that bridges it.
After all the uproar, it’s a quiet blinder.
Like all the Royal Court’s Living Newspaper series, we need this. Watch what this does with the future
Building out of Macbeth a recurring epic of structural violence not ended with one overthrow, sets the seal on this outstanding production.
On the roof, balcony and terrace, a brass extravaganza
A gem of an incarnation.
A sleeping classic in the making
A fleet, brilliantly upending, wholly relevant take on the Verona-ready toxicity feeding male violence and young depression
An enormously satisfying traversal
A wryly consummate musician.
Another sovereign tribute. Stefan Bednarczyk brings Tom Lehrer swaggering out of retirement.
With Michelle Terry as Viola, one of the most touching and truthful Twelfth Nights I’ve seen.
An original off-kilter approach to elegy, tribute and becoming yourself.