FringeReview UK
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FringeReview UK 2024
A paean to wonder and possibility, dreaming to some purpose. Like other winter growths, this should prove a hardy perennial, evergreen as the book.
BBC Prom 23 Rachmaninov: Symphonic Dances, Busoni: Piano Concerto
The London Philharmonic Orchestra with Edward Gardner bring an electrifying, percussive justice to both. One to replay on BBC Sounds.
A musically riveting, dramatically rather episodic production where the dancers and singers make the best of it
BBC Prom 49 Czech Phil/Hrusa Dvorak Cello Concerto, Suk Symphony No. 2 in c Op 27 Asrael
Hrusa elicits playing of astonishing fire from the Czech Philharmonic. Here, they’re out to convince us Suk’s Azrael is one of the great universal symphonies. And they do. Outstanding.
BBC Prom 68 Britten A Midsummer Night’s Dream Garsington Opera
A triumphant revival, it’s still the most elusive of Britten’s major operas, easy to enjoy, still hard to fathom the melodic root of.
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.
Frecknall has re-thought and refreshed one of the great, and classically-framed American dramas. And made it classic.
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.
Greenhouse Festival LAMDA Festival New Directors in association with Orange Tree
Every one of these productions could enjoy a run at the Orange Tree: they’re exciting and accomplished.
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.
A triumph of tone, of textual intercourse and tight-reined spirits. Beatrice’s star is dancing. It’ll stay fresh as the feelgood Shakespeare this summer.
A sure-fire miniature epic, spanning history and damn lies. Sublimely written and with a superb cast both seasoned and fresh, the finest concentration of panto this season.
There’s not a moment in this two-hours-40 where you’re not at the edge of your seat. The best musical revival this year. Don’t wait till it transfers to the West End.
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.
In a female-led cast led by the eponymous Richard III (Michelle Terry) it’s striking that the trio of cursing women is this production’s highlight
Ruari Conaghan Lies Where It Falls
Ruari Conaghan has nowhere to hide in every sense. He exudes the charismatic of 100 watts cosplaying a glowing 40, then hits you between the eyes
A bit of theatrical democracy invoking pre-democracy crafts an exquisite irony for a rainy afternoon. Do see it.
Essential for anyone interested in Brecht or 20th century drama, it’s far more: starkly entrancing, then engrossing over 110 minutes.
The Bible in Early Modern Drama: Robert Owen The History of Purgatory
Dr Will Tosh leads a discussion The Bible in Early Modern Drama. Absorbing.
The most intelligent Comedy of Errors I’ve seen since the NT production of 2012 and truer to the play’s temper.
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.
A valuable corrective to anticipate both real events and Arthur Miller’s take on Abigail Williams
For nearly any other playwright, this would count as something of a masterpiece.
Hall, following Nottage in particular, emerges as one of the most exciting US dramatists.
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.
This production reminds us it’s often the least theatrical, least tractable works that break boundaries, glow with an authority that changes the order of things.
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.
Tom Littler again brings an intimate, wintry music to middle Shakespeare: it’s his unique gift. Never sour, never sweet without salt, and with very few reservations, a definitive close-up Twelfth Night.
Delicious, certainly, truly witty and fast-moving, never indulgent about self-indulgence, this is a sure-fired soufflé
