FringeReview UK 2022
The best Part 2 we can imagine.
Howard Brenton touching eighty is at the height of his powers. Tom Littler has assembled a pitch-perfect cast, reuniting two from his outstanding All’s Well. This too.
An impressively finished play. Do see it.
No simple swapping of heirs and originals, but a dream of the future by Seacole, or equally present dreams raking the past. Do see this.
Judging by the audience, its bleakness tells. Middle bears its own epiphany.
A gem of a production, Taylor McClaine a soaring talent to watch.
if Comer doesn’t receive awards for this there’s no justice at all.
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
Lucy Kirkwood prophesies what’s in store with savage fury, and no-one’s exempt, least of all her.
A firecracker of a first play. Expect Molotovs.
Highlights the truth of its bleak laughter. Humane Strindberg. Now there’s a thing.
Groundbreaking, superb, unmissable.
Such exquisite works find their time; speak to it again and again and again.
Pamela Carter’s schoolboys embody human connectedness, warmth, a final camaraderie before the chill of history. Unmissable.
So what could a Sussex-based sci-fi tale of 1913 by Conan Doyle – a space-borne poison belt of gas that hits the earth – possibly have to do with the week of the greatest temperatures known in the UK?
Two Billion Beats was bursting with promise before. Now it delivers with a visceral yes.
Ibsen’s elusive masterpiece is so rarely performed seeing it is an imperative. Played with such authority as here, in Norwegian and English, it’s not a luxury but a must-see.