FringeReview UK 2018
everything – set, actors, script – come mesmerizingly and painfully together.
We need such risk-taking theatre back. This outstanding production of Exit the King might just remind us how to get it.
This production’s sheer inventiveness, the feral truth of the acting and fabulously exploding set surely reinvent something; and land this drama where it should be: in the bleak dark before a bleached-out dawn.
If you know Angels in America, you’ll be grateful for Dietz’s concentration and economy. Much reckoning is packed into a little room.
Bott asks serious questions. How can a terrorist redeem themselves, and how do individuals negotiate this? Can art play any part in rehabilitation?
The theatre of Goat, its apotheosis into something else from its comedic opening, is stunning. It’s what the Rambert does; completely reinvent itself and the dance. this and the earlier ballet are outstanding in themselves. The Cunningham company are lucky to learn from them.
Turnly’s straightforward play treats of a history we’re unfamiliar with, and we need it straight. That’s more than enough to make it thoroughly absorbing, with far more questions than when we entered the space. Do see it.
Gould’s team have made this as authentic as some of U. S. casts who travelled over from The New York Public Theater for the Nelson plays. There’ll always be some who don’t get this kind of theatre, but there’s an increasing appetite for and understanding of it. When you do, like Kendra’s Betty, you’ll be hooked.
Almost stupefying, but outstanding.
If it comes near you – visit the website – do try and see this pungently-paced meditation on upheaval. This Restless State breathes across its zones as a play with real potential that simply needs a little more daring, a little less peeling back.
The most radical piece of American theatre I’ve seen, and certainly the bravest. See it.
It’s a great phase of U. S. playwrighting, driven by women, and we’re lucky to be living in the middle of it. Schwend unleashes unexpected miracles and is one reason to see this hushed superlative of a play.
By the end of this you’ll know far more about the banking sector than even Robert Peston explains. Now go and play them for a fool.