FringeReview UK
Years: 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015
FringeReview UK 2024
Political history told in Mamet-fast satire, imagined conversations and accurate stats. What could be more thrilling? 82 minutes later you won’t ask why this three-hander is like curing New Year’s hangover with Red Bull, ice, something illegal and a vodka chaser.
Jacob Kay and Helen Baird are both exemplary and funny – there’s explosions of laughter. At 40 minutes there’s much matter hurled at the speed of dark. See it if you can, and check out the other Bitesize plays at Riverside.
It’s conquered both sides of the pond. Stunning, heartwarming, heartbreaking. We need this.
This production’s 100 minutes are so absorbing you’re not quite sure if the time’s stopped, or just your preconceptions. Stunning, a must see.
Outstanding performances, an outstanding set too. As one director said, this production’s more compelling than the original 2011-12 seen touring at Brighton in 2012. The very intimacy of the space, with pitch-perfect acting, makes this an even finer vehicle for the play.
A necessary, engaging, original variation on finding your voice: and a theatrical coup. Acting, writing, directing, video, lighting and tech support, indeed singing are first class. A gem.
It’s an exciting, fragile world Sam Grabiner’s promised us in the future.
One of the finest small-scale plays to come out of Arcola’s Studio 2 recently. Do see this.
The plaudits are right. Sibling love aches with devastation. The sheer riotous fun of this production is exhilarating, and this might be its last outing for some time. Do see it.
Cranford’s gone Wild West, via the Court and RSC. Cowbois is of course daft. But it’s magnificent in its silliness, contains wonderful – and truthful – moments. Deadly serious can have you rolling in the aisles and still jump up for the revolution.
Two hours 45 starts slowly but you feel Smith’s arc move with its casual, supremely naturalist conversation to moments where time stands still. Outstanding revival.
This brilliantly nervous, unresolved play of at least seven lives seeking balance is an astonishing feat, uniquely chronicling the lives of refugees only three months after Osborne’s equally rent-infused Look Back in Anger: and with the same unsettling refusal to closure. A must-see.
A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
Frozen is far more than a thriller: it’s an interrogation into the limits of what evil-doing is, what redemption and some capacity to forgive might be, and its consequences: and above all it ends in a thaw cracking like a Russian spring.
In and Out of Chekhov’s Shorts
Outstanding. After this, there’s no other way to tell Chekhov dramatically that he’s not already nailed down in a play himself. Chekhov would have loved it.
Despite history’s caveats, O’Farrell’s core message isn’t about white saviours or pop stars but how ordinary people unite to change things.
This smouldering production – fast-talking or timeless - fully engages with the play. It makes almost perfect sense: and two families’ DNA ring true as rarely before.
Stephen Unwin directs his own play as a sweep of storytelling, laughter and devastation.
This is possibly Ridley’s masterpiece. Always exercised by the spectral presence of something just out of eyeshot, he never lets that intrude. Scorching and necessary, Leaves of Glass delves into family toxicity, ceaselessly dragging us back into the past.
A masterly play in the making. It goes where very few dare, and in an environment we think we know. Very highly recommended.
This triumphant revival by Ustinov Studios and the Old Vic might finally encourage exploration. You must see this.
Through the choreographic sweep, Price crafts a necessary, traditional warning. It’s more than enough. A must-see.
With institutional racism and trauma compounded in a feedback loop, this Othello’s a timely, and timeless broadside on everything toxic we inhale and expel as venom.
Emma Wilkinson Wright manages the narrative as an odyssey punctuated by screams. It’s a pretty phenomenal performance and the actor is so wholly immersed in Rika you know you’re in the presence of something remarkable.
The end’s both poignant and visionary. A show to remember long after the Bear’s imagined batteries run down.
A superbly witty interrogation of identity, abuses many histories deep, asking questions it sets up in not too sober a fashion. Testmatch is a lightning-conductor.
The Beautiful Future is Coming
Beautiful Future engages throughout though the near future is where it beats quickest. Flora Wilson Brown’s play makes you wonder what life, not just the playwright, might do with her characters. Urgently recommended.
There’s so much to admire here that it’s a happy duty to urge you to see it, if you can, any way you can.
Do see this, preferably alongside its sometime co-runner The Beautiful Future is Coming. A dizzying theatrical gem.
A valuable corrective to anticipate both real events and Arthur Miller’s take on Abigail Williams
The work’s best at its quietest, where intimacy doesn’t need shouting. It’s still an intriguing development, as Kirkwood, as in her magnificent The Welkin, interrogates the condescensions of history.
An extraordinary production. Thorne’s vision is capped by a riveting performance by Gatiss, who glows with the still, sad music of Gielgud’s humanity.
Mike Poulton’s text gleams and snaps. Lucy Bailey’s production of it thrills and occasionally overwhelms, dazzling in its maze of missteps. A must-see.
Blackeyed have kept their telling as lean as Holmes’ hawk-like face, and it pounces. If you admire 221b at all, see it this week.
Even this early, it’s safe to predict we’ll look back at the end of 2024 and proclaim it as one of the year’s finest.
This six-hander is a 90-minute announcement of a major talent. An almost flawless play.
Though without theatrical surprise, Two Rounds is a superbly-acted, deeply satisfying work exploring the limits of choices. How these women go second rounds with the same DNA to see if they can manage anything better, or just differently. Absorbing.
This is the greatest one-man performance I’ve seen, said a Chekhov-immersed director of 45 years’ experience next to me. Yes.