FringeReview UK
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FringeReview UK 2018
A swift and telling production that’s quick-swerving on its feet with memorable vocal projection and physical acting that’s a delight and enticement. This outstanding outdoor version feels special.
An exuberant Christmas production, and a miracle of compression, blocking, set-design and ensemble acting skills.
More than an enchanting diversion Sarah McDonald’s play does ask just how quickly we need to grow up, even when we have.
Highly Recommended for monkeys and lemurs of all ages – quite apart from lions, zebras, hippos and giraffes.
This is as good as a one-person show of this kind gets. Andy Daniel should be up there above his own rows of five-star ratings.
This is sweet, fleet story-telling with just the right amount of pitch and yaw for anyone to take, without it becoming too dark or didactic. Ten-year-old Lola’s engaging, and in Natalia Hinds’ hands utterly believable, energetically inhabited with a sense of fun clearly relished by this revelatory actor.
Stunning Ray Quinn and ensemble work their bobby-socks off with notable support from Rob Wicks and his band. Give No. 9 a proper MOT and it’ll strike gold too.
The most enduring British Christmas hits are melancholy, in stark contrast to say American. There’s a profound sadness in the magic. Its not a long work, perfectly proportioned for children. It’s still the ideal winter present, especially on a first trip to the theatre.
Wolfgang’s Magical Musical Circus
The performing brio is phenomenal, of a standard you’d be happy to see anywhere in the world. So would any child.
