FringeReview UK 2020
With Baum’s direction they and we discover new thresholds, new anatomies
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
Might be the finest Globe Dream
A theatrical arcady on our doorstep
Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.
Heartwarming, giddyingly vital yet clear with its own truth.
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
Join and revel – they’re not anywhere near ended.
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.
The most effective condensation of the pith of the trilogy we’re likely to see.
A tedious brief tragedy? King John is fun… It’s been said.
A strain of greatness.
A stylishly visceral production.
A blissfully alive production.
Stef Smith’s brilliant riff on Ibsen’s original is revelatory
Outstanding. An immediate comic classic.
Do see this.
A deeply revolving production.
Completeness is just one reason to cherish this clean-driven clear-headed production
Ambition treads on teenage dreams and their devastation.
This magnificent revival poses even more urgent questions. A twitch on the thread for all of us.
A fleet traversal memorable for insights the company bring during and after their performance of it
One of the two most cogent, most fun Merry Wives of recent years.
The OFS are taking flight with the best scratch nights the Elizabethans never had.
See it and you’ll never think of the Shrew without this groundbreaking stab at the dreams of men.
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.
Enjoy its slow burn miracles.
Far more than a curate’s egg, this production reveals things we’ve never seen
We’re privileged to see this rarely-performed work moulded by OFS. A play for our times.
Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.
A stylish, timely production which redefines how we experience Middleton.