FringeReview UK
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FringeReview UK 2024
Political history told in Mamet-fast satire, imagined conversations and accurate stats. What could be more thrilling? 82 minutes later you won’t ask why this three-hander is like curing New Year’s hangover with Red Bull, ice, something illegal and a vodka chaser.
Jacob Kay and Helen Baird are both exemplary and funny – there’s explosions of laughter. At 40 minutes there’s much matter hurled at the speed of dark. See it if you can, and check out the other Bitesize plays at Riverside.
It’s conquered both sides of the pond. Stunning, heartwarming, heartbreaking. We need this.
This production’s 100 minutes are so absorbing you’re not quite sure if the time’s stopped, or just your preconceptions. Stunning, a must see.
Laura Hanna is outstanding in a play that ought to establish itself and playwright Martha Loader; and should enjoy a much longer run.
A necessary, engaging, original variation on finding your voice: and a theatrical coup. Acting, writing, directing, video, lighting and tech support, indeed singing are first class. A gem.
It’s an exciting, fragile world Sam Grabiner’s promised us in the future.
Simon Stephens commented “If I could get all your numbers I would ring you all up individually and urge you to see Captain Amazing.” That can’t be improved on. It’s a must-see.
One of the finest small-scale plays to come out of Arcola’s Studio 2 recently. Do see this.
Still in her twenties but vastly experienced, it’s going to be exciting to see where Lawford breaks out to next.
A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
Heart’s Desire/L’Amore Del Cuore
Anyone admiring Churchill, ferocious comedy or excited by a rare UK foray into Italian theatre must see this.
It’s Klaff’s improvisatory edge, founded on absolute technique and clear-headed text, that finds an exit where none was signposted. Magnificent.
An outstanding production persuading us such a self-narrating show can enthral as well as inform. A hidden gem.
Stephen Unwin directs his own play as a sweep of storytelling, laughter and devastation.
This is possibly Ridley’s masterpiece. Always exercised by the spectral presence of something just out of eyeshot, he never lets that intrude. Scorching and necessary, Leaves of Glass delves into family toxicity, ceaselessly dragging us back into the past.
A masterly play in the making. It goes where very few dare, and in an environment we think we know. Very highly recommended.
This triumphant revival by Ustinov Studios and the Old Vic might finally encourage exploration. You must see this.
A joyous revival. Though working in TV production, Hayden’s writing is too good, too well-shaped not to develop in theatre instead.
A bit of theatrical democracy invoking pre-democracy crafts an exquisite irony for a rainy afternoon. Do see it.
The end’s both poignant and visionary. A show to remember long after the Bear’s imagined batteries run down.
The writing will snare you, Phoebe Ladenburg will hold you, and you’ll lean over the fourth wall.
The Beautiful Future is Coming
Beautiful Future engages throughout though the near future is where it beats quickest. Flora Wilson Brown’s play makes you wonder what life, not just the playwright, might do with her characters. Urgently recommended.
It’s reading Beckett in flashes of lightning and laughter. Conor Lovett stuns in this cut-down stand-up Beckett-novels-for-beginners-and-enders three-hour whistlestop. A tour de force as well as a tour de farce of Beckett’s genius.
This extremely fine play is even more prescient than Penhall and Warchus intended, with an earlier election. The Constituent though, will survive it till August.
Richard Brome’s 1637 The English Moor marks a new departure for Read Not Dead. You might say with this play it’s Read to be Dead.
Do see this, preferably alongside its sometime co-runner The Beautiful Future is Coming. A dizzying theatrical gem.
A valuable corrective to anticipate both real events and Arthur Miller’s take on Abigail Williams
This six-hander is a 90-minute announcement of a major talent. An almost flawless play.
This is the greatest one-man performance I’ve seen, said a Chekhov-immersed director of 45 years’ experience next to me. Yes.
