FringeReview UK
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FringeReview UK 2026
If you’ve not seen a Noda production, see it. If you have, see it. It’s still the most intelligent spectacular I’ve seen in recent times.
Acting and often dialogue still compel in long bursts. It sets a seal on one of the swiftest slow-burn productions I’ve seen.
The end, a question-mark, leaves a silence where you might hear a door banging three streets away.
Provocative, absorbing take on Strindberg’s 1888 masterpiece. Fine cast led by Liz Francis make much of demob denouements.
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.
Alex Pearson has devised an Edward II that’s fleet, clear, crisply compelling and as sly as Marlowe: something other productions could profit from.
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
Pacing is fleet, inexorable, even with those frozen minutes of contemporary video. Unmissable.
Mother Courage and Her Children
Brecht’s ferocious message that those who seek profit from war are often its victims too is driven home in the weight of dropped bodies, and Michelle Terry’s outstanding performance.
Kavanagh’s production is in every way outstanding, I’m not sure there’s been a finer – or at least more believable - My Fair Lady conceived and staged as here.
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.
We need Summerfolk. Sided and slant, this version is a must-see. And almost as much as Chekhov, we need more Gorky.
As ever, the Coronet and its guests have scored something unique in the British theatre-world.
Evans and his team have transported the magic so completely it’s taken up residence. Both outstanding and a delight
Chiten Theatre intensifies to a point of light here something barbarous, atavistic, and goes to the heart of nihilism. Still outstanding.
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.
A mostly outstanding – and theatrical - adaptation of an almost impossible-to-adapt novel.
Far richer than any ghost play haunting the tour circuit, it’s a blistering, scary must-see.
