FringeReview UK 2019
A carnival riot of joy – with enough misdirection to evoke moonshine
Prebble’s one antidote for these distracted times.
This is a superb revival; its tinted mirror keeps burnishing.
With vintage Ayckbourn funny is devastating. Vintage BLT too.
It grips from start to finish… a huge achievement.
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 revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
A phenomenally well-written first play
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.
Funny, sassy, disturbing, necessary.
Exceptional and vibrant, the company prove it’s one to revive.
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 well-written and beautifully staged new play
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.
Renders complex sexual feeling and friendship with the grace of the everyday
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
Could this be staged any more convincingly? Superb.
A flinty lesson, not to be missed.
A fine piece, skidding along silicon into our dark
Our Town gone mad. It’s in NVT’s best American vein.
Ned Bennett’s thrilling production breaks out Equus from its leather bondage
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.
We now know more of Greene than upstart crows
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.
Riveting must-see revival of Mamet's breakthrough play
You must queue to see this. It’s quite wonderful.
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
In all the flurry of Fringe, don’t miss this gem.
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.
Yet again NVT deliver small gems of Americana. See it.
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
It must be seen
Again, it must be seen
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
A superb revival.
Anything Zoe Cooper writes now must be keenly anticipated.
A first rate-revival of a small classic. Do seek out this rare, dream-like play.
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.
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.
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.
In nearly every way an outstanding pair of productions.
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.
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 groundbreaking production. Even outside its unique terms it’s outstanding.
We need NVT to continue presenting us with plays like this.
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.
Don’t wait for another West End revival see this one.
If you care for grippingly argued, passionate theatre, you must see this.
A necessary production you’re unlikely ever to see anywhere else.
13.10 is a good lunchtime to watch a Mam’s legend in.
Highlight how good the play is just where we’re not looking for it
One of the finest LLT productions I can remember
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.
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.
An outstanding revival.
The finest new play from the Court this year, gleaming and deadly
They render a faint scroll alive with wit
We’re launched into a necessary world
A mostly terrific revival.