FringeReview UK
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FringeReview UK 2025
A play deeper than the satire which propels it. And subtly layered enough to brush the epic. A stunning smack between the eyes and a must-see.
It’s impossible to believe Sienna doesn’t believe Emily’s not part of this at some level, and by the end, you’ll think so too.
We must be grateful for this compelling revival, and wait for more from the National’s Black archive.
Over 50 minutes, a compelling, unique and disturbing vision unravels: prophesying prophesy is invisible. That’s why as many as possible should see it.
Belly of the Beast should be a set text in schools. And should definitely tour there.
Billy Barrett and Ellice Stevens After The Act Royal Court Downstairs
Most of all this musical is necessary. With four outstanding multi-roling performers, a message both affirmative and defiant; and with a fierce joy that makes it a must-see.
Claire Dowie Adult Child/Dead Child Finborough
Claire Dowie’s never mellowed, and remains essential: taut, inordinate, alone, unreconciled. In other words, see it.
Easily the most joyous musical we’ll see this side midsummer, Cry-Baby in this production blazes fit to set another fire in Dalston
One of the most uneven of late plays, its heights have to be seen; and though there’s pitfalls, this absorbing production surmounts most. A feat.
Death & Co. The Laurel and Hardy of Suicide, the Little and Large of it Do see this timely, painfully funny, and absorbing new play.
Steve Coogan reigns supreme, and a cast like John Hopkins then Giles Terera are a gift to both Coogan and the show.
If flawed it’s a fascinating, intimate piece given new life and with luck a new performing tradition. The most compelling two-hander now playing.
There’s every reason to see this rare gem, now added permanently to Rattigan’s finer plays.
A probing revival, James Hadrill’s production and Emily Bestow’s set inject a haunting into these people. A cooling tower about to implode: it’s Naveed Khan’s gaunt intimation of Ned’s soul that lingers.
An opaque, compelling gem from Det Norske Teatret and its director Horn; and the wonderful Coronet.
Khawla Ibraheem A Knock on the Roof
What and who can you choose is something more people are forced to decide as the century rolls. But Mariam’s plight is specific, ongoing, now far worse and essential viewing.
ETT’s gallimaufry stimulates, frustrates, occasionally fascinates. A more selective through-line would have revealed a mineral gleam, a new earth of tyranny.
Not even the world theatre powerhouse of the Coronet has hosted anything like this. Mario Banushi must be seen.
This grips anyone who can’t let first love go, anyone who stares homeward even now, wild with all regret. Unmissable.
When Doll Common claims “Life’s like a storm. Don’t get in its way” one thinks of the stoicism of those in the eye of it, and their audience. A consummate revival.
Robert Khan and Tom Salinsky The Gang of Three
The wittiest, wisest play I’ve seen this year, it deserves a long run, not least so we can absorb its lessons. Unmissable.
Samuel Rees and Gabriele Uboldi Lessons on Revolution
It’s intersectional, it’s personal, it’s interactive: all great reasons to see this play: unless you’re a board member of BP, or the government.
Anna Morris heightens tragedy and misogyny with gags, humour and farcical horror. Do catch this fleeting gem, running for just two more weeks before it touches down
Stephen Sondheim, David Ives Here We Are
Altogether this mightn’t be in the top tier of Sondheim musicals, but it’s one of the most interesting, even profound, and Sondheim exits with a rapt question-mark. Unmissable.
It begs questions: what couldn’t we do, if placed outside our own comfort station in life? Essential theatre. essential questions. A gem.
Essential theatre, essential witness and mandatory for anyone who wants to know how human we have to be, from beginning to end.
Redemption has long been a McPherson theme. Here, you have to dig as deep as that well, and bring in a lot of muck. Drinking it off isn’t always best-timed. Or by the right people. McPherson is haunted and haunter.
Do see this particularly for an outstanding performance from Burrows and an exceptionally fine one from Woodhouse. This adaptation remains an exhilarating reminder of what a difference a century makes.
How far you’d go to pursue either vengeance or to resolve one, asks just such questions of how we choose to box up our lives. The Gift is for all of us.
Alastair Whatley takes the joy of the sorrow, and makes it his own. Unmissable if you can squeeze in.
A transfixingly beautiful production, with often superb acting, especially from Lara Manela
Timberlake Wertenbaker Little Brother
bsorbs and remains indelible. Stella Powell-Jones is helming a quietly radical shift in Jermyn Street. And she’s taking the audience with her.
Tolstoy/Phillip Breen Anna Karenina
Potentially a revelation, perhaps a classic: a fully-articulated world around Anna, and not just her ghost.
Vaughan Williams, J.M. Synge Riders to the Sea
Betteridge’s prologue is certainly worth seeing even if you know the work, and won’t need persuading. And after the opera, the rest is surf, and silence.
