FringeReview UK 2019
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.
A truly outstanding young talent
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.
An exceptionally interesting, exceptionally delivered programme
It’s still revolutionary.
Funny, sassy, disturbing, necessary.
A first-rate revival
An outstanding debut.
With clarinet piano and soprano, a gloriously rich vocal recital
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.
The whole family’s rightly going to stardom. Here’s two of the seven.
Beguiling and barnstorming in equal measure.
A revelatory, stunning recital.
A superb recital of mainly rare but fascinating repertoire
Two viola masterpieces in the hands of a new viola and piano duo already long-seasoned.
Iruzun’s a master and this recital was a revelation.
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
A wonderful debut.
A stunning solo debut.
Dismantle this space? Yes. This theatre at least can take it.
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.
Our Town gone mad. It’s in NVT’s best American vein.
A terrific performance.
Europe’s border challenges have rarely been realized with this power.
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
Five-star already, a stunning Brighton and Hove debut
We really need this quartet back.
A mesmerizingly first-class recital.
Hope of some distinction, particularly in rare repertoire
We now know more of Greene than upstart crows
You’ll know the film. Despite the volume, you should know this.
A unique, consummate line-up
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.
A pianist of integrity and gritty lyricism
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.
Another superb Collins recital
Another absorbing Collins recital
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
Great debut and homecoming in one duo.
A pianist bristling with oblique lyricism – an ideal twentieth century interpreter.
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.
Vertiginous, tricky and exhilarating
Vocally adventurous yet again, a joy to hear
A composer one delights in
It’s unlikely we’ll get a cleaner version, or a more absorbing production any time soon
Exhilarating. Time to celebrate all the artists here.
A must-see cry for love and tolerance
Consummate and distinctive music-making with repertoire nearly forgotten.
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 superfine ensemble, who would be welcomed back to play such exciting repertoire.
A searing arc of a drama based on true events
I’ve heard no interpretation remotely near it.
Terry has his own accent, should be enjoyed by many. Mesmerising for a summer’s day.
An elegant case for this unique repertoire and its sovereign performers.
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
We need more concerts like this.
We’re very lucky to be here.
Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
A savage anointing, a revelatory reading.
A searingly precise essay on the corruption of entitlement.
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
We’re offered ‘salt to heal, salt to remember… above all for your wounds.’ Take it.
A lovely debut.
‘What are you gonna do now…. clap?’ Yes, standing.
‘Best three pounds I’ve ever spent’
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.
It’d be wonderful to see Chow back
Both this recital and its repertoire remain special
Terrific impact, and complete musicians.
A searing new talent.
You won’t hear anything like this, and you should, next time.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
It’s a powerful beat.
Prepare to be Tartuffed.
It’s imperative to see this production.
A daft sublimity in its downright seriousness
In nearly every way an outstanding pair of productions.
A play you want to return to.
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.
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.
Seek them out, whatever they play.
Sleep as well as you can. The house won’t.
An outstandingly theatrical re-visioning of a film
Consummate and wholly satisfying.
A groundbreaking production. Even outside its unique terms it’s outstanding.
We need NVT to continue presenting us with plays like this.
A feminist take on a Shakespeare classic
The most cogent, most fun at the Globe this year.
It is the definitive musical about biscuits
A finely-judged, neatly-rendered romp of a classic.
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.
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.
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
An exemplary, deeply satisfying recital.