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
Funny, sassy, disturbing, necessary.
Heartwarming. It has the brash conviction of it origins, out and proud of it.
Thoroughly absorbing, full of walking shadows who throw vivid questions.
They deliver, in Costa Blanca spades.
You must see this.
Devastating drama about the DNA of bigotry; and it all starts in surreal farce.
Dismantle this space? Yes. This theatre at least can take it.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
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.
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
A must-see cry for love and tolerance
Anything Zoe Cooper writes now must be keenly anticipated.
A searing arc of a drama based on true events
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 reboot for the future, a passport for change.
A searing new talent.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
Prepare to be Tartuffed.
A daft sublimity in its downright seriousness
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.
13.10 is a good lunchtime to watch a Mam’s legend in.
This absorbing production keeps growing in the mind, like to take root.
This cast’s exemplary dedication deserves watching for their sheer performative belief.
The finest new play from the Court this year, gleaming and deadly