FringeReview UK
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FringeReview UK 2026
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.
This is an event. Break in (without breakages!) if you have to, to see this. You’ll be standing in the aisles to swarm the barricades.
Stella Powell-Jones and her team make the strongest possible case. A must-see for all lovers of theatre, wit, and wincing put-downs.
One of the few moments of Peter Brooks’ term “Holy Theatre” has arrived at the Wanamaker. A must-see.
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.
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
The Finborough have form with five-star solo shows. This is clearly another flued and sanded with the ferocity of pursuit. Outstanding.
Mother Courage and Her Children
Brecht’s ferocious message that those who seek profit from war are often its victims too is driven home in the weight of dropped bodies, and Michelle Terry’s outstanding performance.
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.
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.
A bold yet tender exploration of what it is to be gay, Asian and humane. You come out cheering. A must-see.
Orlando Gough’s music stamps this production, and makes the pulleys of reinvention sing despite themselves. For that and the sweep of decolonised languages, a must-see.
Far richer than any ghost play haunting the tour circuit, it’s a blistering, scary must-see.
