Brighton Year-Round
Years: 2025 2024 2023 2022 2021 2020 2019
Brighton Year-Round 2025
A must-see, one of the very finest plays to have reached the theatre this year.
If you think on peace in these distracted times, love theatre, can absorb it at its most epic, then this will thrill and overwhelm you. A must-see.
Daisy Miles, supremely, Laurits Hiroshi Bjerrum and Rhys Bloy excel in a fine cast and prove this clarion of a play can rise again triumphantly.
Dan O’Brien The Voyage of the Carcass; Emily Jenkins Bobby & Amy
Dan O’Brien’s piece is for dedicated farceurs. By itself outstanding, it’s hoped by several Emily Jenkins’ Bobby & Amy have a postlude of its own, with this team and these two young actors pitched at this moment in their careers.
Stylishness in the fixtures, truth in the lower orders, some superb acting by the likes of Berger, Boyce, and Faulkner, as well as two couples with chemistry.
Pure scary, not horror. There’s reasons Ghost Stories is on its second tour out of the West End. Here’s a convenient (and reasonable) way to see why.
Helen Edmundson The Heresy of Love
A brave undertaking – typical of Gerry McCrudden and his teams - and a rare opportunity to see this superb, all-too-topical play.
A triumph of staging, fine acting and in Sarah Tansey a central performance to rival any Helene Alving I’ve seen.
After 15 years away from the stage, Pike returns in a blaze of morals versus the law. Her triumph though is unequivocal.
Joan Littlewood Oh What a Lovely War
The Merry Roosters forget who they are and come together, awed by the transcendent theatre they’ve invoked. See it.
In nearly every way exceptional. Hampshire is consummate and sets off Rouselle as worthy to inhabit Fields.
There’s not enough adjectives left to praise this. But there is a verb phrase: see it!
It’s still a phenomenal feat and even if you know Macbeth, it’s still a must-see for how a quintessence can be dusted off.
It’s almost sold out. If there’s a cancellation on any night, you must see this.
Even if you don’t like Christie it’s worth seeing not just for an exceptional – and exceptionally-acted – production, but for moral questions that now, as in 1934, need answers in the face of dictators.
There’s never been a more urgent time for this gem of a work: a small hybrid classic that’s never been produced in the UK before. See it now.
Twists are delicious. If you enjoy Peter James, or thrillers with a light touch, don’t hesitate. Solidly recommended.
Sam Chittenden coaxes provisional miracles from her cast and space. The medium’s playful, even fun. The message though is bleak; and love is still in the letting go.
This company re-thinks Sheridan in his spirit: clear and steady as lead-crystal struck through with sun. The inventiveness of filleting the text to guy the fact of a five-strong cast is part of their distinction. It’s a must-see.
Enough here to engage and make anyone who’s not yet ventured to NVT to keep coming back. Do see this collation of crazies.
Conor Baum and his company are carving out a record of distinction. We’re lucky it’s started in the south east. Outstanding.
This is stark theatre. Some will hate Martin McDonagh, and some already love him. I’d say you must see this, where it all started.
This is a must-see. Never outstaying its welcome, you can leave this show after 85 minutes, but stay for that Q&A. I envy everyone the night I won’t be there for it.
Essential theatre for anyone who enjoys new plays with more wit than several comedies. A must-see.
A finely-written show, with tensions wrought individually to a satisfying whole.
