FringeReview UK

Caesar and Cleopatra

It’s like being illumined from a trip-light.

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Dinner With Groucho

McGuinness produces one of his finest works wrought from the sawdust of others and rendered it the burst of stars that irradiate the end.

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I, Joan

The title role goes to Isobel Thom, making their professional debut: the greatest I’ve ever seen.

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Jews. In Their Own Words.

It’s Jonathan Freedland’s and Tracy-Ann Oberman’s brilliance to bring off-kilter, casual devastation to the stage; in raw unsettlings that for many keep the suitcase packed.

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Marys Seacole

No simple swapping of heirs and originals, but a dream of the future by Seacole, or equally present dreams raking the past. Do see this.

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Orlando

A gem of a production, Taylor McClaine a soaring talent to watch.

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Patriots

Putin’s our monster too. A must-see.

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Silence

More of a scattering of earth, ashes and love than simply groundbreaking. But caveats aside, groundbreaking it is.

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Storming!

Stands alone, a wholly original twist to a growing alarm-bell of ethics.

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The Corn is Green

There’s many reasons to see Williams’ finest play. To realise our potential it’s not enough to have dreams, but for someone to show us what those dreams could be.

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The Marriage of Alice B. Toklas by Gertrude Stein

Such exquisite works find their time; speak to it again and again and again.

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The Misfortune of the English

Pamela Carter’s schoolboys embody human connectedness, warmth, a final camaraderie before the chill of history. Unmissable.

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The Paradis Files

Not so much an event as a concentration of Errollyn Wallen’s genius celebrating the life of blind composer Maria Theresia van Paradis, in Graeae’s world-class production

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