FringeReview UK
Years: 2026 2025 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015
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.
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.
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.
The apotheosis is both thrilling and more than timely. At a moment where feminism is being closed down, this needs screaming
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.
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.
Absorbing, playfully swerving from where it might travel, The Authenticator mildly frustrates, mostly digs you in the ribs with questions. And thoroughly entertains.
Evans and his team have transported the magic so completely it’s taken up residence. Both outstanding and a delight
A small classic, if not on the scale of The Truth About Blayds, it’s yet another gem. And a must-see.
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.
An outstanding revival, not least for the quiet blaze between Niamh Cusack and Jeroen Frank Kales, but with a revelatory supporting cast
