FringeReview UK
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FringeReview UK 2026
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.
Provocative, absorbing take on Strindberg’s 1888 masterpiece. Fine cast led by Liz Francis make much of demob denouements.
Recognizing humanity is a mingled yarn mightn’t sound revelatory. Nor what we want to take away. But it’s what we need.
Alex Pearson has devised an Edward II that’s fleet, clear, crisply compelling and as sly as Marlowe: something other productions could profit from.
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
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.
Rosie Sheehy and Robert Aramayo are phenomenal and wholly believable. Norris’s next play will be worth seeking out, after such an outstanding debut.
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.
As ever, the Coronet and its guests have scored something unique in the British theatre-world.
Absorbing, playfully swerving from where it might travel, The Authenticator mildly frustrates, mostly digs you in the ribs with questions. And thoroughly entertains.
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.
A small classic, if not on the scale of The Truth About Blayds, it’s yet another gem. And a must-see.
An extremely fine, and important one-person play, brimming with comedic gambits to open the floodgates.
Aa a blazing new voice though The Shitheads packs a flinty punch; and paradoxically heralds a vivid poetic talent. A must-see.
The Norwegian Ibsen company - and here Kåre Conradi - are doing for Ibsen what Conor Lovett and Gare St Lazare are doing for Beckett. And both are to be found at the Coronet.
A mostly outstanding – and theatrical - adaptation of an almost impossible-to-adapt novel.
As fine a revival as you’re likely to see in London or the South. It's a classic that, like Road, is more political as it ages gracefully.
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.
