FringeReview UK
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FringeReview UK 2018

You want Bruce and Prudence to be happy till the lights go down, and to do that it needs a supreme breathlessness, then a slow exhalation at the very end. Worth seeing still.

Know the Dalston lesbian scene? Verbally and dramatically as well as breaking new ground, this sings. Do see Grotty at the Bunker and be illumined. It’s rare to see such brutal tenderness laugh itself to the lip of the balcony.

If you know Angels in America, you’ll be grateful for Dietz’s concentration and economy. Much reckoning is packed into a little room.

One of the most riveting few minutes of contemporary theatre I’ve seen all year.

Gould’s team have made this as authentic as some of U. S. casts who travelled over from The New York Public Theater for the Nelson plays. There’ll always be some who don’t get this kind of theatre, but there’s an increasing appetite for and understanding of it. When you do, like Kendra’s Betty, you’ll be hooked.

This is necessary, exciting, playful, and still unsettling, not just because of what it asks but the manner of narration. It’s also seminal.

Robert Hastie’s revival at the Donmar reaffirms this a modern classic in a production fully realizing Peter Gill’s quiet universality. By the close, when George quotes lines from the York Realist we’re on another plane from a superb play about love. It’s an outstanding play: this revival is as fine as we’re likely to see.