FringeReview UK 2019
Hugely absorbing it’s entertaining too.
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
A carnival riot of joy – with enough misdirection to evoke moonshine
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
A truly outstanding young talent
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
An exceptionally interesting, exceptionally delivered programme
It’s still revolutionary.
Exceptional and vibrant, the company prove it’s one to revive.
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.
For Lucy Phelps and Sophie Khan Levy above all, this is a joyful As You Like It.
A first-rate revival
An outstanding debut.
If only one could see it twice: but try it at least once.
It’s Rattle’s genius for the fresh and new that endures.
Sheku Kanneh-Mason is thrillingly intimate, matched by Mirga Grazinyte-Tyla’s lucid, energetic readings throughout.
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
An immensely satisfying traversal into darkness.
With clarinet piano and soprano, a gloriously rich vocal recital
Heartwarming. It has the brash conviction of it origins, out and proud of it.
In several ways, this is about as good as it gets.
The whole family’s rightly going to stardom. Here’s two of the seven.
The ensemble’s exuberant variety and panache never fails.
Beguiling and barnstorming in equal measure.
A revelatory, stunning recital.
A superb recital of mainly rare but fascinating repertoire
Two viola masterpieces in the hands of a new viola and piano duo already long-seasoned.
Magnificent. It alters the settled world of this music.
Iruzun’s a master and this recital was a revelation.
They deliver, in Costa Blanca spades.
A wonderful debut.
A stunning solo debut.
Could this be staged any more convincingly? Superb.
A flinty lesson, not to be missed.
A terrific performance.
Grounded in quiet with a huge howl
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
Five-star already, a stunning Brighton and Hove debut
Unexpected repertoire, played with panache and sensitivity.
We really need this quartet back.
A mesmerizingly first-class recital.
Hope of some distinction, particularly in rare repertoire
You’ll know the film. Despite the volume, you should know this.
A unique, consummate line-up
The enormous energy Sarah Amankwah brings proclaims greatness in the making
A pianist of integrity and gritty lyricism
Another superb Collins recital
Another absorbing Collins recital
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
Great debut and homecoming in one duo.
A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
It’s a quiet heartbreaker, with stoicism and love the only answers. Do see it.
An outstanding production
Vertiginous, tricky and exhilarating
Vocally adventurous yet again, a joy to hear
What we have is absorbing
A composer one delights in
Exhilarating. Time to celebrate all the artists here.
Consummate and distinctive music-making with repertoire nearly forgotten.
A glorious recital.
Anything Zoe Cooper writes now must be keenly anticipated.
A superfine ensemble, who would be welcomed back to play such exciting repertoire.
I’ve heard no interpretation remotely near it.
Terry has his own accent, should be enjoyed by many. Mesmerising for a summer’s day.
An elegant case for this unique repertoire and its sovereign performers.
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
We need more concerts like this.
We’re very lucky to be here.
I’m hooked. We need more of this.
A searingly precise essay on the corruption of entitlement.
Terrific revival goes at the speed of twilight
A lovely debut.
‘Best three pounds I’ve ever spent’
A reboot for the future, a passport for change.
It’d be wonderful to see Chow back
Both this recital and its repertoire remain special
Terrific impact, and complete musicians.
A searing new talent.
You won’t hear anything like this, and you should, next time.
It’s a powerful beat.
A Hilliard rather than Holbein, it’s the velocity of Elizabeth’s survival that enthrals
It really is purrfect for summer
It’s imperative to see this production.
A terrific revival
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.
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.
Seek them out, whatever they play.
Consummate and wholly satisfying.
Almost stupefying, but outstanding.
The most cogent, most fun at the Globe this year.
A necessary production you’re unlikely ever to see anywhere else.
Highlights how good the play is just where we’re not looking for it
This absorbing production keeps growing in the mind, like to take root.
This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.
Cora Bissett’s set the bar thrillingly high for a new genre. Who could follow her?
This cast’s exemplary dedication deserves watching for their sheer performative belief.
They render a faint scroll alive with wit
A wonderfully evocative dementia themed concert for local charity Memory Lane
We’re launched into a necessary world
An exemplary, deeply satisfying recital.