FringeReview UK 2019
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
A phenomenally well-written first play
Did I say sucker-punch? It’s what the Orange Tree do every time.
In several ways, this is about as good as it gets.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
Europe’s border challenges have rarely been realized with this power.
It must be seen
Again, it must be seen
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
Cusack and McCormack give the performances of their lives
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
They compel attention, they demand we follow every sigh
Rodrigues is a dramatist we need to see far more of.
Prepare to be Tartuffed.
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.
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
There’s nothing like the Exchange’s approach: their bi-lingual virtuosity burns questions.
An outstandingly theatrical re-visioning of a film
A groundbreaking production. Even outside its unique terms it’s outstanding.
Almost stupefying, but outstanding.
An explosively powerful play
This absorbing production keeps growing in the mind, like to take root.
A really worthwhile production with a few missed opportunities
We’re launched into a necessary world