FringeReview UK
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FringeReview UK 2019
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Over 50 years on, this still sets benchmarks. Its power to enthral, to appal can never date.
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Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
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This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
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This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
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A revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
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Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
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Antonio Oyarzabal Piano Recital
These intelligent programmes make Antonio Oyarzabal’s recitals an occasion.
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A heartwarming revival. Jack Laskey, Bettrys Jones and Nadia Nadarajah have made a space for this As You Like It well beyond its initial moment last year.
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BBC Prom 46 Howell Elgar Knussen Weinberg
Sheku Kanneh-Mason is thrillingly intimate, matched by Mirga Grazinyte-Tyla’s lucid, energetic readings throughout.
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BBC Prom 47 Bach Organ Works, Bruckner Symphony 8 in C minor
Bach’s organ works on the Willis are thrilling in Michael Schonheidt’s hands. Andris Nelsons is exemplary, the Leipzigers uninhibited, agonized, overwhelming in Bruckner 8
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Belladonna: Sue Mileham Soprano, Jane Plessner Clarinet, Nicola Grunberg Piano
With clarinet piano and soprano, a gloriously rich vocal recital
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With Angela Smith’s phrase ringing in our ears, there’s not going to be a better play anywhere that answers it. Do see it.
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Braimah Kanneh-Mason and Konya Kanneh-Mason
The whole family’s rightly going to stardom. Here’s two of the seven.
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Chapel Royal Clelia Iruzun and Yoko Ono Four Hands Piano Recital
A superb recital of mainly rare but fascinating repertoire
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Chapel Royal Ellie Blackshaw and Yoko Ono Viola and Piano
Two viola masterpieces in the hands of a new viola and piano duo already long-seasoned.
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We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
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For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
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A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
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An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
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Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
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Fumi Otsuki Violin Sarah Kershaw Piano Recital
Hope of some distinction, particularly in rare repertoire
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For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
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The triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
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An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever
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The Crypt organisers as well as John Greening really have hit on an ideal recitation.
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A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
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Anyone seeing this play will be grateful they’ll never feel quite the same way about London, young people or language again.
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A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
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Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
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New Music Brighton Jon Rattenbury and Brian Ashworth Guitar Duo
Exhilarating. Time to celebrate all the artists here.
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Oliver Nelson and David Way Violin and Viola Recital
Consummate and distinctive music-making with repertoire nearly forgotten.
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Oyarzabal, Besselaar, Nigl Piano Trio
A superfine ensemble, who would be welcomed back to play such exciting repertoire.
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Terry has his own accent, should be enjoyed by many. Mesmerising for a summer’s day.
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Paul Gregory and Yoko Ono Guitar and Piano Recital
An elegant case for this unique repertoire and its sovereign performers.
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Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
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The finale is grounded in silences; an almost tragic awareness of the nature of the Essendines’ love. Outstanding.
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This production could draw out the poison of being dead serious in terminal bursts of laughter
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Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
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Schubert Violin Sonatina No 1 in D, Elgar Violin Sonata Catherine Morgan, Charlotte Brennand
A lovely debut.
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A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
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St Nicholas Daria Robertson, Polina Loubnina, Zhanna Kemp Soprano Flute Piano Recital
Both this recital and its repertoire remain special
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St Nicholas Mehreen Shah and Tim Nail Soprano and Piano Recital
Terrific impact, and complete musicians.
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The Brighton Scratch Night 2019
Six new pieces - one of which will be produced at next year's Fringe
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The Dismissal of the Greek Envoys and The Laments
In nearly every way an outstanding pair of productions.
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A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
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The scalpel and scruple of class and coolness breaks into tragedy and gifts us three outstanding moments
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Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
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There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.
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A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
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This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.
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Total Immediate Collective Imminent Terrestrial Salvation
The most consistently satisfying work of Tim Crouch I’ve seen.
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Cora Bissett’s set the bar thrillingly high for a new genre. Who could follow her?
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When We Have Sufficiently Tortured Each Other
This cast’s exemplary dedication deserves watching for their sheer performative belief.