FringeReview UK
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FringeReview UK 2019
Over 50 years on, this still sets benchmarks. Its power to enthral, to appal can never date.
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
A revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
Antonio Oyarzabal Piano Recital
These intelligent programmes make Antonio Oyarzabal’s recitals an occasion.
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.
BBC Prom 46 Howell Elgar Knussen Weinberg
Sheku Kanneh-Mason is thrillingly intimate, matched by Mirga Grazinyte-Tyla’s lucid, energetic readings throughout.
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
Belladonna: Sue Mileham Soprano, Jane Plessner Clarinet, Nicola Grunberg Piano
With clarinet piano and soprano, a gloriously rich vocal recital
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.
Braimah Kanneh-Mason and Konya Kanneh-Mason
The whole family’s rightly going to stardom. Here’s two of the seven.
Chapel Royal Clelia Iruzun and Yoko Ono Four Hands Piano Recital
A superb recital of mainly rare but fascinating repertoire
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.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
Fumi Otsuki Violin Sarah Kershaw Piano Recital
Hope of some distinction, particularly in rare repertoire
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
The triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
Anyone seeing this play will be grateful they’ll never feel quite the same way about London, young people or language again.
A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
New Music Brighton Jon Rattenbury and Brian Ashworth Guitar Duo
Exhilarating. Time to celebrate all the artists here.
Oliver Nelson and David Way Violin and Viola Recital
Consummate and distinctive music-making with repertoire nearly forgotten.
Oyarzabal, Besselaar, Nigl Piano Trio
A superfine ensemble, who would be welcomed back to play such exciting repertoire.
Terry has his own accent, should be enjoyed by many. Mesmerising for a summer’s day.
Paul Gregory and Yoko Ono Guitar and Piano Recital
An elegant case for this unique repertoire and its sovereign performers.
Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
The finale is grounded in silences; an almost tragic awareness of the nature of the Essendines’ love. Outstanding.
This production could draw out the poison of being dead serious in terminal bursts of laughter
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
Schubert Violin Sonatina No 1 in D, Elgar Violin Sonata Catherine Morgan, Charlotte Brennand
A lovely debut.
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
St Nicholas Daria Robertson, Polina Loubnina, Zhanna Kemp Soprano Flute Piano Recital
Both this recital and its repertoire remain special
St Nicholas Mehreen Shah and Tim Nail Soprano and Piano Recital
Terrific impact, and complete musicians.
The Brighton Scratch Night 2019
Six new pieces - one of which will be produced at next year's Fringe
The Dismissal of the Greek Envoys and The Laments
In nearly every way an outstanding pair of productions.
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
The scalpel and scruple of class and coolness breaks into tragedy and gifts us three outstanding moments
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.
Total Immediate Collective Imminent Terrestrial Salvation
The most consistently satisfying work of Tim Crouch I’ve seen.
Cora Bissett’s set the bar thrillingly high for a new genre. Who could follow her?
When We Have Sufficiently Tortured Each Other
This cast’s exemplary dedication deserves watching for their sheer performative belief.
