FringeReview UK
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FringeReview UK 2024
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A necessary, engaging, original variation on finding your voice: and a theatrical coup. Acting, writing, directing, video, lighting and tech support, indeed singing are first class. A gem.
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Simon Stephens commented “If I could get all your numbers I would ring you all up individually and urge you to see Captain Amazing.” That can’t be improved on. It’s a must-see.
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A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
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It’s Klaff’s improvisatory edge, founded on absolute technique and clear-headed text, that finds an exit where none was signposted. Magnificent.
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Emma Wilkinson Wright manages the narrative as an odyssey punctuated by screams. It’s a pretty phenomenal performance and the actor is so wholly immersed in Rika you know you’re in the presence of something remarkable.
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The end’s both poignant and visionary. A show to remember long after the Bear’s imagined batteries run down.
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The writing will snare you, Phoebe Ladenburg will hold you, and you’ll lean over the fourth wall.
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It’s reading Beckett in flashes of lightning and laughter. Conor Lovett stuns in this cut-down stand-up Beckett-novels-for-beginners-and-enders three-hour whistlestop. A tour de force as well as a tour de farce of Beckett’s genius.
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This is the greatest one-man performance I’ve seen, said a Chekhov-immersed director of 45 years’ experience next to me. Yes.