FringeReview UK 2019
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 phenomenally well-written first play
It’s still revolutionary.
Funny, sassy, disturbing, necessary.
Heartwarming. It has the brash conviction of it origins, out and proud of it.
You must see this.
Devastating drama about the DNA of bigotry; and it all starts in surreal farce.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
A fine piece, skidding along silicon into our dark
Europe’s border challenges have rarely been realized with this power.
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
You’ll know the film. Despite the volume, you should know this.
You must queue to see this. It’s quite wonderful.
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.
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
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
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
A must-see cry for love and tolerance
Elinor Cook’s always worth a diversion for. This drama deserves friends and revivals.
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
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.
‘What are you gonna do now…. clap?’ Yes, standing.
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
What better way to spend 105 minutes in the city?
A searing new talent.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
A play you want to return to.
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
Unmissable in this – er, newly enhanced production.
Sleep as well as you can. The house won’t.
A brave and beautiful play
Don’t wait for another West End revival see this one.
This cast’s exemplary dedication deserves watching for their sheer performative belief.
The finest new play from the Court this year, gleaming and deadly