FringeReview UK
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FringeReview UK 2026
1.17am, or until the words run out
A cracking debut that picks you up and never lets go. Like any play that gifts us believable characters, it leaves you wondering what life, not just Hunter Gordon, will do with them. Highly recommended.
Provocative, absorbing take on Strindberg’s 1888 masterpiece. Fine cast led by Liz Francis make much of demob denouements.
This is an event. Break in (without breakages!) if you have to, to see this. You’ll be standing in the aisles to swarm the barricades.
Strindberg to live with? Who’d have thought of that? An outstanding must-see. If you can’t get there, tune in to the livestream. This demands a wider audience.
Stella Powell-Jones and her team make the strongest possible case. A must-see for all lovers of theatre, wit, and wincing put-downs.
One of the few moments of Peter Brooks’ term “Holy Theatre” has arrived at the Wanamaker. A must-see.
Wendi Peters sends you out singing: with all the right notes in the wrong order. Solidly recommended.
Rosie Sheehy and Robert Aramayo are phenomenal and wholly believable. Norris’s next play will be worth seeking out, after such an outstanding debut.
No wonder the propulsive energy of Lyle Kessler’s script, knotted with such complexity and switchbacks of violence has held the stage for over 40 years. You must see this.
Klingenstein’s attentive, witty above all brilliant re-imagining of two remarkable young people. Exceptional.
There’s a perennial feel not just to the humanity at the play’s core; but the work itself. In these dark days, a must-see.
Chiten Theatre intensifies to a point of light here something barbarous, atavistic, and goes to the heart of nihilism. Still outstanding.
An extremely fine, and important one-person play, brimming with comedic gambits to open the floodgates.
The Playboy of the Western World
An impossible balance, but having seen Playboy at farce-speed, it’s good to weigh in with a loquacious backbeat of despair. Wholly absorbing.
Aa a blazing new voice though The Shitheads packs a flinty punch; and paradoxically heralds a vivid poetic talent. A must-see.
The Norwegian Ibsen company - and here Kåre Conradi - are doing for Ibsen what Conor Lovett and Gare St Lazare are doing for Beckett. And both are to be found at the Coronet.
Orlando Gough’s music stamps this production, and makes the pulleys of reinvention sing despite themselves. For that and the sweep of decolonised languages, a must-see.
