FringeReview UK
Years: 2025 2024 2023 2022 2021 2020 2019 2018 2017 2016 2015
FringeReview UK 2025
A play deeper than the satire which propels it. And subtly layered enough to brush the epic. A stunning smack between the eyes and a must-see.
Over 50 minutes, a compelling, unique and disturbing vision unravels: prophesying prophesy is invisible. That’s why as many as possible should see it.
Belly of the Beast should be a set text in schools. And should definitely tour there.
Billy Barrett and Ellice Stevens After The Act Royal Court Downstairs
Most of all this musical is necessary. With four outstanding multi-roling performers, a message both affirmative and defiant; and with a fierce joy that makes it a must-see.
Sassy yet profound, probing yet exuberant, it asks all of us: No, don’t look at me. Look at you. A quiet must-see this summer.
Claire Dowie See Primark and Die Finborough
There’s more than a touch of Ken (even more, Daisy) Campbell about the way Dowie structures her circular storytelling. Here it’s at its most consummate, most artful and repays re-reading to catch Dowie at your throat.
Emphatically theatre worth doing, worth attending, worth fighting to clarify and worth being changed for.
Its claustrophobia overwhelms and moves, whilst leaving Dead Centre room for yet another slant on Ilya Kaminsky’s imaginary.
Steve Coogan reigns supreme, and a cast like John Hopkins then Giles Terera are a gift to both Coogan and the show.
Khawla Ibraheem A Knock on the Roof
What and who can you choose is something more people are forced to decide as the century rolls. But Mariam’s plight is specific, ongoing, now far worse and essential viewing.
A thoroughly worthwhile revival, it still kicks and thrills in equal measure. Highly recommended.
Robert Khan and Tom Salinsky The Gang of Three
The wittiest, wisest play I’ve seen this year, it deserves a long run, not least so we can absorb its lessons. Unmissable.
Samuel Rees and Gabriele Uboldi Lessons on Revolution
It’s intersectional, it’s personal, it’s interactive: all great reasons to see this play: unless you’re a board member of BP, or the government.
Essential theatre, essential witness and mandatory for anyone who wants to know how human we have to be, from beginning to end.
Through choreographic sweep, Tim Price crafts a necessary, traditional warning. A must-see with the finest last line since Good.
Timberlake Wertenbaker Little Brother
bsorbs and remains indelible. Stella Powell-Jones is helming a quietly radical shift in Jermyn Street. And she’s taking the audience with her.
