FringeReview UK 2022
A great Hamlet almost realised
A wonderful score and musicians, above all Bea Segura’s titanic act of shrivelling, make this a must-see.
There’ll be nothing more blazing or relevant on the London stage this year.
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.
The most convincing Much Ado for years
This isn’t the most revelatory Much Ado, but the most consummate and complete for a while.
Putin’s our monster too. A must-see.
A real play bursting out of its hour-plus length; with complex interaction, uncertain journeys, each character developing a crisis of isolation only resolved by sisterhood
There’s many reasons to see Williams’ finest play. To realise our potential it’s not enough to have dreams, but for someone to show us what those dreams could be.
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.
Pamela Carter’s schoolboys embody human connectedness, warmth, a final camaraderie before the chill of history. Unmissable.
Not so much an event as a concentration of Errollyn Wallen’s genius celebrating the life of blind composer Maria Theresia van Paradis, in Graeae’s world-class production
A joyous production, that without its gimmicky close, could certainly furnish a way in for many
Packs a mighty question that can still knock you off balance.