FringeReview UK
Years: 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015
FringeReview UK 2024
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/EXCITING_WORK.png)
Don’t go expecting searing insights, but do go for a crack ensemble who will surely turn many to Shakespeare. An endearing and uplifting enterprise.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/HIDDEN_GEM.png)
A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/GROUND_BREAKING_WORK.png)
Ultimately, the most telling line ”We are all immigrants across time” defines what remains an extraordinary experience
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/OUTSTANDING_SHOW.png)
Heart’s Desire/L’Amore Del Cuore
Anyone admiring Churchill, ferocious comedy or excited by a rare UK foray into Italian theatre must see this.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/OUTSTANDING_SHOW.png)
In and Out of Chekhov’s Shorts
Outstanding. After this, there’s no other way to tell Chekhov dramatically that he’s not already nailed down in a play himself. Chekhov would have loved it.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/HIDDEN_GEM.png)
It’s Klaff’s improvisatory edge, founded on absolute technique and clear-headed text, that finds an exit where none was signposted. Magnificent.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/HIDDEN_GEM.png)
Stephen Unwin directs his own play as a sweep of storytelling, laughter and devastation.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/GROUND_BREAKING_WORK.png)
Mnemonic is treasurable, eloquent, a rare passport. It remembers what hope, connectedness and peace smelt like. It’s worth remembering that.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/EXCITING_WORK.png)
Emma Wilkinson Wright manages the narrative as an odyssey punctuated by screams. It’s a pretty phenomenal performance and the actor is so wholly immersed in Rika you know you’re in the presence of something remarkable.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/OUTSTANDING_SHOW.png)
It’s reading Beckett in flashes of lightning and laughter. Conor Lovett stuns in this cut-down stand-up Beckett-novels-for-beginners-and-enders three-hour whistlestop. A tour de force as well as a tour de farce of Beckett’s genius.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/HIDDEN_GEM.png)
Richard Brome’s 1637 The English Moor marks a new departure for Read Not Dead. You might say with this play it’s Read to be Dead.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/OUTSTANDING_SHOW.png)
An extraordinary production. Thorne’s vision is capped by a riveting performance by Gatiss, who glows with the still, sad music of Gielgud’s humanity.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/MUST_SEE_SHOW.png)
Mike Poulton’s text gleams and snaps. Lucy Bailey’s production of it thrills and occasionally overwhelms, dazzling in its maze of missteps. A must-see.
![](https://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/HIGHLY_RECOMMENDED_SHOW.png)
Blackeyed have kept their telling as lean as Holmes’ hawk-like face, and it pounces. If you admire 221b at all, see it this week.