FringeReview UK
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FringeReview UK 2025
Sold out at the Court (you might queue for returns), but worth any pilgrimage to Stratford for.
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.
Emma Wilkinson-Wright is unnervingly close to the pulse of how real this is. A hidden gem.
There’s nothing more charming or endearing in the West End this summer.
It’s impossible to believe Sienna doesn’t believe Emily’s not part of this at some level, and by the end, you’ll think so too.
We must be grateful for this compelling revival, and wait for more from the National’s Black archive.
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.
The most riveting two-hander you’ll see this year; it’s not for the faint-hearted. Writing, acting and burned-off minimal staging draw us into hell, and its epiphanies. Outstanding.
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 Adult Child/Dead Child Finborough
Claire Dowie’s never mellowed, and remains essential: taut, inordinate, alone, unreconciled. In other words, see it.
Claire Dowie H to He (I’m Turning into a man) Finborough
A must-see for anyone who loves breakthrough: genre-defying, then genre-defining theatre.
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.
Its claustrophobia overwhelms and moves, whilst leaving Dead Centre room for yet another slant on Ilya Kaminsky’s imaginary.
Death & Co. The Laurel and Hardy of Suicide, the Little and Large of it Do see this timely, painfully funny, and absorbing new play.
If flawed it’s a fascinating, intimate piece given new life and with luck a new performing tradition. The most compelling two-hander now playing.
A probing revival, James Hadrill’s production and Emily Bestow’s set inject a haunting into these people. A cooling tower about to implode: it’s Naveed Khan’s gaunt intimation of Ned’s soul that lingers.
An opaque, compelling gem from Det Norske Teatret and its director Horn; and the wonderful Coronet.
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.
Not even the world theatre powerhouse of the Coronet has hosted anything like this. Mario Banushi must be seen.
A thoroughly worthwhile revival, it still kicks and thrills in equal measure. Highly recommended.
Natasha Cotriall (God Save My) Northern Soul
Time will deepen the shadows and writer/actor Natasha Cotriall shows this in the very last moment.
Natasha Cottriall (God Save My) Northern Soul
Time will deepen the shadows and writer/actor Natasha Cottriall shows this in the very last moment
This grips anyone who can’t let first love go, anyone who stares homeward even now, wild with all regret. Unmissable.
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.
The most entertaining life-saver you’ll see, whether you need it or not.
Anna Morris heightens tragedy and misogyny with gags, humour and farcical horror. Do catch this fleeting gem, running for just two more weeks before it touches down
It begs questions: what couldn’t we do, if placed outside our own comfort station in life? Essential theatre. essential questions. A gem.
Essential theatre, essential witness and mandatory for anyone who wants to know how human we have to be, from beginning to end.
The Chaos That Has Been and Will No Doubt Return
It’s hard not to love this exuberant 75-minute romp through Luton’s urban sprawl. It’s both exuberant and serious, warm and yet with a chill undercurrent of deprivation
The Chaos That Has Been and Will No Doubt Return
It’s hard not to love this exuberant 75-minute romp through Luton’s urban sprawl. It’s both exuberant and serious, warm and yet with a chill undercurrent of deprivation
Alastair Whatley takes the joy of the sorrow, and makes it his own. Unmissable if you can squeeze in.
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.
Vaughan Williams, J.M. Synge Riders to the Sea
Betteridge’s prologue is certainly worth seeing even if you know the work, and won’t need persuading. And after the opera, the rest is surf, and silence.
