Fringe Online

Years: 2020  

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Fringe Online 2020

A Midsummer Night’s Dream

With Baum’s direction they and we discover new thresholds, new anatomies


A Midsummer Night’s Dream

This surely is the greatest Dream since Peter Brook’s landmark 1970 production.


A Midsummer Night’s Dream

Might be the finest Globe Dream


Antony and Cleopatra

Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.


Coriolanus

A Coriolanus memorable for politics sinewed with personal forces: an active interrogation of democracy. And in Josie Rourke’s production Tom Hiddleston’s someone riven by intimations of his true self


From Henry VI Part 3 to Romeo and Juliet

Join and revel – they’re not anywhere near ended.


Hamlet

In Michelle Terry’s quicksilver, quick-quipping Hamlet, much has been proved, from interpretive to gender fluidity in tragic action, that sets a privilege on being in at a beginning.


King John

A tedious brief tragedy? King John is fun… It’s been said.


One Man, Two Guvnors

Outstanding. An immediate comic classic.


Richard II

Do see this.


Romeo and Juliet

Completeness is just one reason to cherish this clean-driven clear-headed production


The Madness of George III

This magnificent revival poses even more urgent questions. A twitch on the thread for all of us.


The Merchant of Venice

A fleet traversal memorable for insights the company bring during and after their performance of it


The Merry Wives of Windsor

One of the two most cogent, most fun Merry Wives of recent years.


The Spanish Tragedy

The OFS are taking flight with the best scratch nights the Elizabethans never had.


The Two Noble Kinsmen

We’re looking at a bright Book of Hours. Barrie Rutter’s done it profound service, adding a warmth and agency that opens up this pageant. This is hopefully just the first of many such he’ll bring to the Globe.


The Winter’s Tale

Enjoy its slow burn miracles.


The Winter’s Tale

Far more than a curate’s egg, this production reveals things we’ve never seen


Twelfth Night

Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.


Waiting for Hamlet

Everyone dies in the end.