FringeReview UK 2020
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
In the most spectacular production imaginable, Lucian Msamati’s supremely crafted lead sets off the quicksilver of his rival Adam Gillen.
The great discovery was the multi-roling Marcus Lovett, sexy and lethal, able to attack several roles and convince you he was born for them, even into them.
Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.
Barber Shop Chronicles is a breath-taking revelation for those of us who had small inkling of a world in miniature.
A thoroughly enjoyable period-style musical.
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
The most effective condensation of the pith of the trilogy we’re likely to see.
You’ll never see a better adaptation of this classic
A strain of greatness.
A superb realization of Lorraine Hansberry's unfinished masterpiece - a classic of Ibsenite proportions
One of the most fascinating dark-hued musicals Lloyd-Webber’s written
Outstanding. An immediate comic classic.
Completeness is just one reason to cherish this clean-driven clear-headed production
A reboot for the future, a passport for change.
One of the two most cogent, most fun Merry Wives of recent years.
The Albert Hall’s sovereign production, unlikely to be surpassed particularly with the special encore.
Phenomenal singing all round. A more than solid recommendation for that alone.
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.
Kushner’s just brought The Visit home with him.
Already a contender for one of the best plays of 2020.
Enjoy its slow burn miracles.
Far more than a curate’s egg, this production reveals things we’ve never seen
Vibrant proof as to why it’s been called the play of the decade
First-rate theatre. In Joshua James’ Ben Gunn and above all Pasy Ferran’s Jim, we see stars rising quicker than Arthur Darvill’s superb Silver can point them out.
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.
Outstanding. Surely the definitive study of the dignity of physical labour, and breaking of its amity.
Bleakly funny, with flickers of tragedy, to make you see how redemptive kindness is