FringeReview UK
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FringeReview UK 2019
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
A masterly, unsettling play that in this production never puts a foot wrong. And wrong-foots us all.
An enchanting speed-read of our connectedness, a reminder that a fiver can change your life. Irresistible.
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
For a time you feel that beyond Churchill’s world, nothing else quite seems to exist.
The Crypt organisers as well as John Greening really have hit on an ideal recitation.
Anyone seeing this play will be grateful they’ll never feel quite the same way about London, young people or language again.
A beautifully-constructed play, small in compass, big in scope and deft at managing the transitions
Maud Dromgoole’s proved more than adroit, skilful, and deliciously risk-taking. A must-see.
Rotterdam’s an outstanding play about sexual identity, choices, and above all what it means to transition.
A superb ensemble piece. Of all dramas on these interesting times in America, it’s the one truly necessary.
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
Cora Bissett’s set the bar thrillingly high for a new genre. Who could follow her?
When We Have Sufficiently Tortured Each Other
This cast’s exemplary dedication deserves watching for their sheer performative belief.