FringeReview UK 2019
Peter Hamilton Dyer carries this celebration of the conscience to be fully human
Hugely absorbing it’s entertaining too.
Bhatti nails truth to the doors of injustice. It’s well we heeded it.
Prebble’s one antidote for these distracted times.
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 phenomenally well-written first play
An exciting initiative showcasing new work by womxn
Did I say sucker-punch? It’s what the Orange Tree do every time.
Funny, sassy, disturbing, necessary.
A well-written and beautifully staged new play
Heartwarming. It has the brash conviction of it origins, out and proud of it.
Thoroughly absorbing, full of walking shadows who throw vivid questions.
In several ways, this is about as good as it gets.
There’s something special and extraordinary here too: a voice.
They deliver, in Costa Blanca spades.
You must see this.
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
Dismantle this space? Yes. This theatre at least can take it.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
Grounded in quiet with a huge howl
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
You must queue to see this. It’s quite wonderful.
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.
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
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
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
What we have is absorbing
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
A must-see cry for love and tolerance
Absorbing and horribly timely.
Anything Zoe Cooper writes now must be keenly anticipated.
A searing arc of a drama based on true events
In McArdle’s irresistible performance you’re not likely to see a finer Gynt.
I’m hooked. We need more of this.
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
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.
If you’ve an appetite for exceptional new writing, just see it.
A reboot for the future, a passport for change.
A reboot for the future, a passport for change.
A searing new talent.
No wonder this play’s just extended its run. Don’t even read this before you try booking.
A Hilliard rather than Holbein, it’s the velocity of Elizabeth’s survival that enthrals
Prepare to be Tartuffed.
Baker pushes dangerously at just what theatre is.
Six new pieces - one of which will be produced at next year's Fringe
A daft sublimity in its downright seriousness
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.
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 deeply satisfying play
Almost stupefying, but outstanding.
13.10 is a good lunchtime to watch a Mam’s legend in.
An explosively powerful play
An assured showcase of shorts
This absorbing production keeps growing in the mind, like to take root.
This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.
The most consistently satisfying work of Tim Crouch I’ve seen.
A really worthwhile production with a few missed opportunities
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.
The finest new play from the Court this year, gleaming and deadly
We’re launched into a necessary world
Compelling and bleakly miraculous