FringeReview UK 2019
Peter Hamilton Dyer carries this celebration of the conscience to be fully human
Do see this bold, beautiful attempt on Kane’s masterpiece
Over 50 years on, this still sets benchmarks. Its power to enthral, to appal can never date.
Hugely absorbing it’s entertaining too.
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
Can science give back the life that was lost?
A carnival riot of joy – with enough misdirection to evoke moonshine
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
Prebble’s one antidote for these distracted times.
This is a superb revival; its tinted mirror keeps burnishing.
With vintage Ayckbourn funny is devastating. Vintage BLT too.
It grips from start to finish… a huge achievement.
A truly outstanding young talent
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
It’s conquered both sides of the pond. We need this.
A revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
A phenomenally well-written first play
Absorbing. A must-see.
Convinces you All My Sons is even greater than we know.
Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
An exceptionally interesting, exceptionally delivered programme
It’s still revolutionary.
An exciting initiative showcasing new work by womxn
Did I say sucker-punch? It’s what the Orange Tree do every time.
Funny, sassy, disturbing, necessary.
Exceptional and vibrant, the company prove it’s one to revive.
These intelligent programmes make Antonio Oyarzabal’s recitals an occasion.
A play that can only deepen with each production.
A heartwarming revival. Jack Laskey, Bettrys Jones and Nadia Nadarajah have made a space for this As You Like It well beyond its initial moment last year.
For Lucy Phelps and Sophie Khan Levy above all, this is a joyful As You Like It.
A well-written and beautifully staged new play
A first-rate revival
An outstanding debut.
If only one could see it twice: but try it at least once.
It’s Rattle’s genius for the fresh and new that endures.
Sheku Kanneh-Mason is thrillingly intimate, matched by Mirga Grazinyte-Tyla’s lucid, energetic readings throughout.
Bach’s organ works on the Willis are thrilling in Michael Schonheidt’s hands. Andris Nelsons is exemplary, the Leipzigers uninhibited, agonized, overwhelming in Bruckner 8
An immensely satisfying traversal into darkness.
With clarinet piano and soprano, a gloriously rich vocal recital
Heartwarming. It has the brash conviction of it origins, out and proud of it.
Thoroughly absorbing, full of walking shadows who throw vivid questions.
With Angela Smith’s phrase ringing in our ears, there’s not going to be a better play anywhere that answers it. Do see it.
In several ways, this is about as good as it gets.
Still masterly, and in this rare revival, a must-see.
The whole family’s rightly going to stardom. Here’s two of the seven.
The ensemble’s exuberant variety and panache never fails.
Beguiling and barnstorming in equal measure.
Convinces here far more than any production I’ve seen.
There’s something special and extraordinary here too: a voice.
A revelatory, stunning recital.
A superb recital of mainly rare but fascinating repertoire
Two viola masterpieces in the hands of a new viola and piano duo already long-seasoned.
True, and not so true, tales of the South Downs.
Magnificent. It alters the settled world of this music.
Iruzun’s a master and this recital was a revelation.
They deliver, in Costa Blanca spades.
You must see this.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
Devastating drama about the DNA of bigotry; and it all starts in surreal farce.
Renders complex sexual feeling and friendship with the grace of the everyday
A wonderful debut.
A stunning solo debut.
Dismantle this space? Yes. This theatre at least can take it.
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
Could this be staged any more convincingly? Superb.
A flinty lesson, not to be missed.
A fine piece, skidding along silicon into our dark
Our Town gone mad. It’s in NVT’s best American vein.
A terrific performance.
Ned Bennett’s thrilling production breaks out Equus from its leather bondage
Europe’s border challenges have rarely been realized with this power.
Grounded in quiet with a huge howl
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
Five-star already, a stunning Brighton and Hove debut
Unexpected repertoire, played with panache and sensitivity.
We really need this quartet back.
A mesmerizingly first-class recital.
Hope of some distinction, particularly in rare repertoire
We now know more of Greene than upstart crows
You’ll know the film. Despite the volume, you should know this.
A unique, consummate line-up
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
Riveting must-see revival of Mamet's breakthrough play
A masterfully conceived vehicle to stalk politics now
You must queue to see this. It’s quite wonderful.
A soaring remix of how the play settles a succession on congealed blood.
The triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
The enormous energy Sarah Amankwah brings proclaims greatness in the making
An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever
In all the flurry of Fringe, don’t miss this gem.
A pianist of integrity and gritty lyricism
I’ve not seen a festival of short plays to compare with these.
Visceral and sometimes very very funny. Then not. Essential viewing.
Compelling dissection of what hampers the mindset of our main progressive party.
Another superb Collins recital
Another absorbing Collins recital
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
Great debut and homecoming in one duo.
A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
Yet again NVT deliver small gems of Americana. See it.
Anyone seeing this play will be grateful they’ll never feel quite the same way about London, young people or language again.
It’s a quiet heartbreaker, with stoicism and love the only answers. Do see it.
A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
An Unmissable Harrowing Halloween Treat
It must be seen
Again, it must be seen
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
An outstanding production
Vertiginous, tricky and exhilarating
Vocally adventurous yet again, a joy to hear
What we have is absorbing
A composer one delights in
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
Cusack and McCormack give the performances of their lives
Exhilarating. Time to celebrate all the artists here.
A must-see cry for love and tolerance
Consummate and distinctive music-making with repertoire nearly forgotten.
A glorious recital.
Absorbing and horribly timely.
A superb revival.
Anything Zoe Cooper writes now must be keenly anticipated.
A first rate-revival of a small classic. Do seek out this rare, dream-like play.
A superfine ensemble, who would be welcomed back to play such exciting repertoire.
A searing arc of a drama based on true events
I’ve heard no interpretation remotely near it.
Terry has his own accent, should be enjoyed by many. Mesmerising for a summer’s day.
An elegant case for this unique repertoire and its sovereign performers.
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
We need more concerts like this.
Elinor Cook’s always worth a diversion for. This drama deserves friends and revivals.
We’re very lucky to be here.
Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
I’m hooked. We need more of this.
The finale is grounded in silences; an almost tragic awareness of the nature of the Essendines’ love. Outstanding.
A savage anointing, a revelatory reading.
A searingly precise essay on the corruption of entitlement.
This production could draw out the poison of being dead serious in terminal bursts of laughter
They compel attention, they demand we follow every sigh
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
Terrific revival goes at the speed of twilight
Rodrigues is a dramatist we need to see far more of.
We’re offered ‘salt to heal, salt to remember… above all for your wounds.’ Take it.
A lovely debut.
‘What are you gonna do now…. clap?’ Yes, standing.
Speaks with a fierce innocence
‘Best three pounds I’ve ever spent’
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
If you’ve an appetite for exceptional new writing, just see it.
A reboot for the future, a passport for change.
A reboot for the future, a passport for change.
It’d be wonderful to see Chow back
Both this recital and its repertoire remain special
Terrific impact, and complete musicians.
What better way to spend 105 minutes in the city?
A searing new talent.
You won’t hear anything like this, and you should, next time.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
It’s a powerful beat.
It really is purrfect for summer
Prepare to be Tartuffed.
A lovelorn lothario with ants in his pants meets his match in a knockabout clown play
It’s imperative to see this production.
Baker pushes dangerously at just what theatre is.
Six new pieces - one of which will be produced at next year's Fringe
A terrific revival
A daft sublimity in its downright seriousness
In nearly every way an outstanding pair of productions.
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
A consummate production of a memorably dark comedy
A play you want to return to.
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.
Unmissable in this – er, newly enhanced production.
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
Seek them out, whatever they play.
Sleep as well as you can. The house won’t.
An outstandingly theatrical re-visioning of a film
A deeply satisfying play
Consummate and wholly satisfying.
A groundbreaking production. Even outside its unique terms it’s outstanding.
We need NVT to continue presenting us with plays like this.
Almost stupefying, but outstanding.
A feminist take on a Shakespeare classic
The most cogent, most fun at the Globe this year.
A brave and beautiful play
It is the definitive musical about biscuits
A finely-judged, neatly-rendered romp of a classic.
More nearly a masterpiece than you’d think
An outstanding production, rescuing a classic from attic shadows.
Don’t wait for another West End revival see this one.
If you care for grippingly argued, passionate theatre, you must see this.
A necessary production you’re unlikely ever to see anywhere else.
13.10 is a good lunchtime to watch a Mam’s legend in.
An explosively powerful play
Highlight how good the play is just where we’re not looking for it
Highlights how good the play is just where we’re not looking for it
One of the finest LLT productions I can remember
An assured showcase of shorts
This absorbing production keeps growing in the mind, like to take root.
It doesn’t get much better than this.
The most consistently satisfying work of Tim Crouch I’ve seen.
A really worthwhile production with a few missed opportunities
Cora Bissett’s set the bar thrillingly high for a new genre. Who could follow her?
This cast’s exemplary dedication deserves watching for their sheer performative belief.
An outstanding revival.
The finest new play from the Court this year, gleaming and deadly
They render a faint scroll alive with wit
A wonderfully evocative dementia themed concert for local charity Memory Lane
We’re launched into a necessary world
An exemplary, deeply satisfying recital.
Compelling and bleakly miraculous
A mostly terrific revival.