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
Hugely absorbing it’s entertaining too.
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
Prebble’s one antidote for these distracted times.
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.
Did I say sucker-punch? It’s what the Orange Tree do every time.
Funny, sassy, disturbing, necessary.
A play that can only deepen with each production.
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.
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.
You’ll know the film. Despite the volume, you should know this.
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
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.
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
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
What we have is absorbing
Cusack and McCormack give the performances of their lives
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.
Speaks with a fierce innocence
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.
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 deeply satisfying play
A brave and beautiful play
Don’t wait for another West End revival see this one.
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.
The finest new play from the Court this year, gleaming and deadly
Compelling and bleakly miraculous