FringeReview UK 2019
A carnival riot of joy – with enough misdirection to evoke moonshine
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
Prebble’s one antidote for these distracted times.
This is a superb revival; its tinted mirror keeps burnishing.
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.
Absorbing. A must-see.
Convinces you All My Sons is even greater than we know.
It’s still revolutionary.
Did I say sucker-punch? It’s what the Orange Tree do every time.
A play that can only deepen with each production.
A heartwarming revival. Jack Laskey, Bettrys Jones and Nadia Nadarajah have made a space for this As You Like It well beyond its initial moment last year.
A first-rate revival
If only one could see it twice: but try it at least once.
Heartwarming. It has the brash conviction of it origins, out and proud of it.
Thoroughly absorbing, full of walking shadows who throw vivid questions.
With Angela Smith’s phrase ringing in our ears, there’s not going to be a better play anywhere that answers it. Do see it.
Still masterly, and in this rare revival, a must-see.
There’s something special and extraordinary here too: a voice.
They deliver, in Costa Blanca spades.
You must see this.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
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 flinty lesson, not to be missed.
A fine piece, skidding along silicon into our dark
Ned Bennett’s thrilling production breaks out Equus from its leather bondage
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.
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
Riveting must-see revival of Mamet's breakthrough play
A soaring remix of how the play settles a succession on congealed blood.
The triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
The enormous energy Sarah Amankwah brings proclaims greatness in the making
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.
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
A must-see cry for love and tolerance
A superb revival.
Anything Zoe Cooper writes now must be keenly anticipated.
A searing arc of a drama based on true events
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
Elinor Cook’s always worth a diversion for. This drama deserves friends and revivals.
Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
I’m hooked. We need more of this.
A savage anointing, a revelatory reading.
A searingly precise essay on the corruption of entitlement.
They compel attention, they demand we follow every sigh
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
Terrific revival goes at the speed of twilight
Rodrigues is a dramatist we need to see far more of.
‘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.
A reboot for the future, a passport for change.
A reboot for the future, a passport for change.
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.
It’s a powerful beat.
It really is purrfect for summer
Prepare to be Tartuffed.
It’s imperative to see this production.
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.
Unmissable in this – er, newly enhanced production.
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
Sleep as well as you can. The house won’t.
An outstandingly theatrical re-visioning of a film
A deeply satisfying play
A groundbreaking production. Even outside its unique terms it’s outstanding.
Almost stupefying, but outstanding.
The most cogent, most fun at the Globe this year.
A brave and beautiful play
A finely-judged, neatly-rendered romp of a classic.
More nearly a masterpiece than you’d think
An outstanding production, rescuing a classic from attic shadows.
If you care for grippingly argued, passionate theatre, you must see this.
A necessary production you’re unlikely ever to see anywhere else.
Highlight how good the play is just where we’re not looking for it
This absorbing production keeps growing in the mind, like to take root.
It doesn’t get much better than this.
The most consistently satisfying work of Tim Crouch I’ve seen.
A really worthwhile production with a few missed opportunities
This cast’s exemplary dedication deserves watching for their sheer performative belief.
An outstanding revival.
The finest new play from the Court this year, gleaming and deadly
We’re launched into a necessary world
A mostly terrific revival.