FringeReview UK
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FringeReview UK 2018
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A swift and telling production that’s quick-swerving on its feet with memorable vocal projection and physical acting that’s a delight and enticement. This outstanding outdoor version feels special.
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Greene’s original will continue to tease with its unrelieved religious intensity. Otherwise for a secular age this adaptation, and this production, is as good as it gets.
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There’s a fitting heart-warming climax to a dream of production. And a surprise to those who think they know the film.
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As a gifted exploration of Electra’s themes and a transposition of them to 21st century values, this is as exhaustive, detailed and convincing as you’d wish.
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We need such risk-taking theatre back. This outstanding production of Exit the King might just remind us how to get it.
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It’s Joanne Clifton’s night. She lives Alex, dangerously pushing every routine with an extravagance, a hunger, sexiness and raw power that makes it one of the most memorable dance performances in a musical I’ve ever seen.
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An excitingly-conceived adaptation of a familiar story. Ahead lies some astonishment.
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An exuberant Christmas production, and a miracle of compression, blocking, set-design and ensemble acting skills.
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You’ll have to see this. It’s in no way a continuation of their previous Beckett. and it’s immersive, outstanding, unrepeatable and unimaginable anywhere else: Gare St Lazare, and in the UK, no-one but the Print Room it seems would dare to stage it.
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Highly Recommended for monkeys and lemurs of all ages – quite apart from lions, zebras, hippos and giraffes.
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Like the recent Suppliants, in a very different way, Medea Electronica asks just what we mean by Greek tragedy, what our conceptions of drama without music are. An essential experience.
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This is a first-rate revival. Everything snaps and sings with a lyric devastation that asks with Guthrie just whose land this is, in a year where presidential excesses have seen the US population ask the same question for the first time in generations.
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This is as good as a one-person show of this kind gets. Andy Daniel should be up there above his own rows of five-star ratings.
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An adaptation to surprise and thrill you. Jessica Swale’s made Sense and Sensibility wholly hers, and quintessentially Austen at the same time. The cast render it a delight.
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This ATG production should reach anyone who’s curious about Warner’s rather different outcome to the original, which Highsmith herself, writing later, might well have approved of; I prefer it too.
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Stunning Ray Quinn and ensemble work their bobby-socks off with notable support from Rob Wicks and his band. Give No. 9 a proper MOT and it’ll strike gold too.
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The Case of the Frightened Lady
This is still something of a vintage treat, and a rare opportunity to see the old master in action.
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Like so much from The Print Room, this feels like European theatre. And we need it more desperately than ever.
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It’s not shorter than before, but dare one say it, somehow Sparkier, conveying the author’s economy in a sinewy morality tale.
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The Secret Lives of Baba Segi’s Wives
The genius of this production is to keep hilarity airborne whilst slipping in something poisonous. You must see this.
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The most enduring British Christmas hits are melancholy, in stark contrast to say American. There’s a profound sadness in the magic. Its not a long work, perfectly proportioned for children. It’s still the ideal winter present, especially on a first trip to the theatre.
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As an electric shock to schlock gothic, theatre doesn’t come much better than this.
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BLT have produced in less than two weeks two outstandingly fine full-length productions. This latest offering confirms this theatre’s confidence in producing stark contrasts: an unfashionable yet horribly topical drop of silence into a bustling city.