FringeReview UK
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FringeReview UK 2026
If you’ve not seen a Noda production, see it. If you have, see it. It’s still the most intelligent spectacular I’ve seen in recent times.
1.17am, or until the words run out
A cracking debut that picks you up and never lets go. Like any play that gifts us believable characters, it leaves you wondering what life, not just Hunter Gordon, will do with them. Highly recommended.
Acting and often dialogue still compel in long bursts. It sets a seal on one of the swiftest slow-burn productions I’ve seen.
The end, a question-mark, leaves a silence where you might hear a door banging three streets away.
Georgie Dettmer’s voice should be one of the leading dramatists of resistance. Yet more, Dettmer has already much to say about how to live now and next.
Recognizing humanity is a mingled yarn mightn’t sound revelatory. Nor what we want to take away. But it’s what we need.
Strindberg to live with? Who’d have thought of that? An outstanding must-see. If you can’t get there, tune in to the livestream. This demands a wider audience.
Do Not Attempt This Conversation
Mo Maka’s play though brief is superbly constructed and taut. I can hardly wait for Maka’s next play.
Timely, timeless and as real as a selfie you might wish you’d never taken when you look again. 80 minutes blink by, but you won’t miss it. Stunning.
The Finborough have form with five-star solo shows. This is clearly another flued and sanded with the ferocity of pursuit. Outstanding.
Godot’s To-Do List, Krapp’s Last Tape
A performance of lessness writ large: a man shrinking from his environment, the memories taking over and kicking Krapp’s mere organic matter out.
One of the most remarkable reveals in recent theatre, and makes this play an absolutely compelling must-see.
Pacing is fleet, inexorable, even with those frozen minutes of contemporary video. Unmissable.
The apotheosis is both thrilling and more than timely. At a moment where feminism is being closed down, this needs screaming
Klingenstein’s attentive, witty above all brilliant re-imagining of two remarkable young people. Exceptional.
There’s a perennial feel not just to the humanity at the play’s core; but the work itself. In these dark days, a must-see.
We need Summerfolk. Sided and slant, this version is a must-see. And almost as much as Chekhov, we need more Gorky.
As ever, the Coronet and its guests have scored something unique in the British theatre-world.
As Teeth ‘n’ Smiles ends, we’re left to feel the long withdrawing roar of the 1960s, and the bleaker horizons and disillusion Hare saw by 1975. A must-see.
Absorbing, playfully swerving from where it might travel, The Authenticator mildly frustrates, mostly digs you in the ribs with questions. And thoroughly entertains.
Evans and his team have transported the magic so completely it’s taken up residence. Both outstanding and a delight
The Dasslers wields a potential beyond its current limitations – both in this brief production and in its current form. And Radford, clearly setting out his dramatic stall in history’s cross-currents, is a voice to watch.
Chiten Theatre intensifies to a point of light here something barbarous, atavistic, and goes to the heart of nihilism. Still outstanding.
Aa a blazing new voice though The Shitheads packs a flinty punch; and paradoxically heralds a vivid poetic talent. A must-see.
A mostly outstanding – and theatrical - adaptation of an almost impossible-to-adapt novel.
As a gentle voyage around the frothy half of Guinness we know, and the dark we don’t, it deserves awards, and another tour.
A rich, suggestive and above all probing work about how we live with our ghosts so we can live with each other.
Far richer than any ghost play haunting the tour circuit, it’s a blistering, scary must-see.
