Brighton Fringe 2017
How do you create the perfect image of yourself?
This is the most affecting bittersweet piece of theatre seen at the Fringe for a while and a masterly play. That Hall and Lacey invest it with such pathos humour and delicacy whilst working to pinpoint direction is equally winning, equally devastating and makes you dream sequels. It’s a must-see.
It’s not a sequel to Patrick Sanford’s award-winning Groomed. Blooming’s an outstanding work still developing, but judging by Sandford’s original deployment of images and the interaction between performers, it’s becoming a definitive statement. There’s much to discover, especially for many at the Q&A. If you care for the human condition, you must see this.
Paul Macauley’s garnered outstanding praise and Bug Camp adds to his reputation. All four cast give exemplary performances though Douetil and Spencer hit a top register of something teetering on tragedy, laughing over an abyss.
When an author entitles her experiences in How to Walk Through Hell as based on her own, you might wonder if we’re close to stories of abuse and terror. Yes, the abuse is a virus. Lyme disease. The acting of both Sam Wright and Kizzie Kay is exemplary, some of the finest naturalistic acting seen on the Fringe this year, indeed consummately professional.
A near masterclass of solo performance, based on emerging new writing.
Fringe theatre at its best. A unique intimate experience with outstanding production values.
A forthright political performance that pulls no punches
Imagine it’s three minutes to midnight before a nuclear winter. And that’s slipped on January 26th this year to two-and-a-half. Jonathan Williamson’s created a laconic take on the old 1970s-80s nuclear holocaust warnings.
The Cocktail Pianist is ultimately radiant with self-knowledge. Hatchard is a phenomenally gifted pianist even on an electric keyboard. His touch, mercurial dispatch are not of the medley kind. A first rate show with enduring things to say, it’s also a comment on how we treat our gifts and they us.
A superb way to get to know a superb play. It’s difficult to conclude anything but a kind of dopamine’s got into BLT recently; perhaps we absorb it there too. Everything they touch is enhanced, there’s a uniform excellence of cast and production here that’d look perfectly in situ in any off-West End theatre.
It’s all in the maths obsession. Think Nick Payne’s Constellations with a tighter focus on one event and its outfall and rewind. It’s a clever but also heartening play, which also asks what time does to two individuals who dream of the one direction but wake up without interpreting each others’ dreams, or finding when they do they’re different. And what to do.
Startling immersive stage production of the classic film; Fast, furious, stomach churning, shocking and gritty.
What’s Left must be right. But the country’s voted, Right. Do catch this! Left-wing activist Adele is just the dominant voice when Morag Sims puts on the best single act of a whole cast I’ve seen in a long time.