FringeReview UK
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FringeReview UK 2026
If you’ve not seen a Noda production, see it. If you have, see it. It’s still the most intelligent spectacular I’ve seen in recent times.
The end, a question-mark, leaves a silence where you might hear a door banging three streets away.
Strindberg to live with? Who’d have thought of that? An outstanding must-see. If you can’t get there, tune in to the livestream. This demands a wider audience.
It mightn’t quite be the droll, dry Churchill we know, but it’s certainly one we should greet. Absorbing.
Pacing is fleet, inexorable, even with those frozen minutes of contemporary video. Unmissable.
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.
We need Summerfolk. Sided and slant, this version is a must-see. And almost as much as Chekhov, we need more Gorky.
Chiten Theatre intensifies to a point of light here something barbarous, atavistic, and goes to the heart of nihilism. Still outstanding.
OrQuesta provide the pattern of how to mount a vocally full-scale, full-length opera in an intimate space. An outstanding Magic Flute.
Impressive. This Moliere, with Sandra Oh commanding too, seems slightly less urgent though eminently worth seeing.
The Norwegian Ibsen company - and here Kåre Conradi - are doing for Ibsen what Conor Lovett and Gare St Lazare are doing for Beckett. And both are to be found at the Coronet.
Far richer than any ghost play haunting the tour circuit, it’s a blistering, scary must-see.
