FringeReview UK
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FringeReview UK 2026
Provocative, absorbing take on Strindberg’s 1888 masterpiece. Fine cast led by Liz Francis make much of demob denouements.
Dido and Aeneas Arcola, Grimeborn Festival
Ensemble OrQuesta should be tracked down, and The Magic Flute queued for.
Alex Pearson has devised an Edward II that’s fleet, clear, crisply compelling and as sly as Marlowe: something other productions could profit from.
Pacing is fleet, inexorable, even with those frozen minutes of contemporary video. Unmissable.
Not only lands in all the right places, it fizzes perhaps more than any Much Ado I’ve seen.
Impressive. This Moliere, with Sandra Oh commanding too, seems slightly less urgent though eminently worth seeing.
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.
