FringeReview UK

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FringeReview UK 2016

Blood Brothers

The show - nearly three hours - never for a moment seemed it, gripping the audience so tightly the whole audience rose spontaneously to its feet – something I’ve not seen in this theatre. The blend of definitive and new cast members in a recent classic has overwhelming impact.


Breakfast at Tiffany’s

Character-acting keeps this near-impossible-to-dramatize story a play. Since the film’s different, this charmingly-attempted soufflé of an adaptation might do the best service of all: send people in search of a ninety-page novella, and that’s in large print.


Dick Barton and the Tango of Terror

Admirable high-quality festive fun; an excellent script well worth reviving and indeed sourcing again for others, a crack creative team particularly the musical numbers, and a cast who for the most part are at home with whiplash RP, particularly Jack Edison who’s never tongue-tied once. Enjoy, and note the extra matinees.


Haim: In the Light of a Violin

Mesmerising, heart-rending concert-cum-narration of a child’s journey through violin lessons to auditioning in Auschwitz, and beyond as told through his eyes.


Here All Night

Sam’s all night shiner, Beckett’s Wake and Cabaret. Haunting, funny, unmissable.


Love Story

Refreshing treatment of this enormously affecting musical lies in its British bite working so well with Jenny’s feisty character, and youth generally. BLT and the Craig/Nock team have scored another bull’s-eye which by the end is pretty watery.


Sunny Afternoon

What makes this outstanding is Penhall’s wit and deft charactering of core band and satellites who interact with the complexity of a play, the way the songs move the narrative forward and are given believable geneses. This outstanding musical deserves the awards its original incarnation garnered – and it brings back The Kinks forever sharing the peak of British pop with The Who, The Stones and pre-eminently The Beatles.


The Threepenny Opera

A coming-of-age for Rufus Norris, a wholly credible, cheekily interventionist Threepenny Opera with a few devastating critiques


The Wizard of Oz

It beggars belief that on one tiny stage we can be subjected to so many scene stages so expertly handled, so many backdrops and scenery shifts, not to mention a cast of twenty-two who can all sing. This production is good enough for a larger professional stage. If you get a chance, ask for a ticket or return.