FringeReview UK 2019
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
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.
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.
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
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
We’re offered ‘salt to heal, salt to remember… above all for your wounds.’ Take it.
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
A searing new talent.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
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.
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