FringeReview UK
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FringeReview UK 2024
A further triumph in Kara Wilson’s groundbreaking fusion of words and paint.
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.
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.
A definitive telling of that rarest thing, an uplifting Dostoevsky tale. It’s unlikely to be rendered better than this.
It’s Klaff’s improvisatory edge, founded on absolute technique and clear-headed text, that finds an exit where none was signposted. Magnificent.
Emma Wilkinson Wright manages the narrative as an odyssey punctuated by screams. It’s a pretty phenomenal performance and the actor is so wholly immersed in Rika you know you’re in the presence of something remarkable.
Ruari Conaghan Lies Where It Falls
Ruari Conaghan has nowhere to hide in every sense. He exudes the charismatic of 100 watts cosplaying a glowing 40, then hits you between the eyes
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.
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 is the greatest one-man performance I’ve seen, said a Chekhov-immersed director of 45 years’ experience next to me. Yes.
