FringeReview UK
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FringeReview UK 2019
Over 50 years on, this still sets benchmarks. Its power to enthral, to appal can never date.
Amos Gitai’s curating hope from the ruins, impelling the audience to construct a narrative.
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
This has to be the smartest debut from this venue since Jessica Swales’ Bluestockings: no wonder the playscripts sold out early.
A revelation. At twenty-two Granville Barker’s a master in the making. Naomi Frederick’s sovereign in the title role.
Hannah Morrish’s Helena shines in this achingly desperate, quietly beautiful production.
A heartwarming revival. Jack Laskey, Bettrys Jones and Nadia Nadarajah have made a space for this As You Like It well beyond its initial moment last year.
With Angela Smith’s phrase ringing in our ears, there’s not going to be a better play anywhere that answers it. Do see it.
We’re unlikely to see a better production of this still rarely-performed disturber of ourselves.
For a farce there’s only one spot of monotony. That’s how uniformly outstanding this is.
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 triumph of this newly-energized production is bringing the darker Falstaff to a diverse audience
An exemplary, scrupulous production so starkly contemporary, it makes Hunger contemporary forever
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.
Unsettling enough to avoid instant classic status, but outliving many that court it. A superb revival.
The finale is grounded in silences; an almost tragic awareness of the nature of the Essendines’ love. Outstanding.
This production could draw out the poison of being dead serious in terminal bursts of laughter
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.
The Brighton Scratch Night 2019
Six new pieces - one of which will be produced at next year's Fringe
The Dismissal of the Greek Envoys and The Laments
In nearly every way an outstanding pair of productions.
A triumph for all concerned. Juliet Stevenson even gains in stature. Icke’s last production could hardly go better than this.
The scalpel and scruple of class and coolness breaks into tragedy and gifts us three outstanding moments
Florian Zeller's masterpiece, in a production and central performance that would do it justice anywhere.
A bewitching mix of deconstructive magic and fabulous therapy, it’s above all Grace Molony who brushes distinction into this already distinctive production.
This spectacular production beats with a fervour and purpose few adaptations achieve. Ellams has made Three Sisters new.
Total Immediate Collective Imminent Terrestrial Salvation
The most consistently satisfying work of Tim Crouch I’ve seen.
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.
