FringeReview UK
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FringeReview UK 2026
A fully re-imagined Dream, it’s mostly successful in suggesting a real 1994 that might just have existed.
It will live as a further bright witness. How a Muslim Sufi princess of bi-racial origins and deeply cosmopolitan heritage ended with a posthumous George Cross. Outstanding.
Georgie Dettmer’s voice should be one of the leading dramatists of resistance. Yet more, Dettmer has already much to say about how to live now and next.
Exhilarating to see how, despite all the cuts and starvation of opportunities, vibrant voices find a refuge and a springboard at the Bush.
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.
Unmissable to anyone who takes an interest in India or the world's recent history, ongoing late capitalism and how it stops humanity in cyanide tracks.
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.
Do Not Attempt This Conversation
Mo Maka’s play though brief is superbly constructed and taut. I can hardly wait for Maka’s next play.
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
A very promising play, and Webber a highly talented political writer. The kind we so clearly need.
The Finborough have form with five-star solo shows. This is clearly another flued and sanded with the ferocity of pursuit. Outstanding.
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.
Klingenstein’s attentive, witty above all brilliant re-imagining of two remarkable young people. Exceptional.
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.
Mark Rylance can’t fail to take you with him. If not take you in. Very highly recommended.
As Teeth ‘n’ Smiles ends, we’re left to feel the long withdrawing roar of the 1960s, and the bleaker horizons and disillusion Hare saw by 1975. A must-see.
A bold yet tender exploration of what it is to be gay, Asian and humane. You come out cheering. A must-see.
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.
Far richer than any ghost play haunting the tour circuit, it’s a blistering, scary must-see.
An astonishing spectacle that still moves and will forever craze the idiocy of war on the retina like an iced-over No-Man’s Land.
