FringeReview UK 2020
Brenton powerfully concertinas a continent’s politics and one artist’s refraction of it. Wong is outstanding
Groundbreaking. The smallest producing theatre in the West End through lockdown has become the largest.
With Baum’s direction they and we discover new thresholds, new anatomies
This surely is the greatest Dream since Peter Brook’s landmark 1970 production.
Might be the finest Globe Dream
Stoppard looks at society’s phantom limb ethic. Even when it’s gone it aches, and it aches to have someone opting out.
A landmark production
Did I say sucker-punch? It’s what the Orange Tree do every time.
The great discovery was the multi-roling Marcus Lovett, sexy and lethal, able to attack several roles and convince you he was born for them, even into them.
Supremely worth it to see a pair so famous weighing equal in their own balance, perhaps for the first time.
Barber Shop Chronicles is a breath-taking revelation for those of us who had small inkling of a world in miniature.
Nothing so convincing has been done with this legend. It deserves many revivals.
A thoroughly enjoyable period-style musical.
Easily the finest production we’ll get
A Coriolanus memorable for politics sinewed with personal forces: an active interrogation of democracy. And in Josie Rourke’s production Tom Hiddleston’s someone riven by intimations of his true self
One of the most important productions since lockdown.
Devastating drama about the DNA of bigotry played as surreal farce.
Renders huge black experience into a narrative that bears it, because so well-constructed, so character-driven and so inhabited by Michael Balogun whose blaze of awakening is both benediction and clarion.
Terrific, a harrowing education.
The acting scales cliff-edges of unreason. One remembers the scale of betrayal and loss of redemption
The acting scales cliff-edges of unreason. One remembers the scale of betrayal and loss of redemption. Benedict Cumberbatch here is Frankenstein, Jonny Lee Miller the Creature. The alternate version aired first is still available.
Join and revel – they’re not anywhere near ended.
Will leave you in a heap and wonder what else Lauren Gunderson has written that comes near this.
There’s no reason not to see this rare gem
Showcases future names and above all is defiant with hope and agency
A sovereign production, unlikely to be equalled for the foreseeable
A salutary reminder of how a great musical talent and collaboration started
A tedious brief tragedy? King John is fun… It’s been said.
A superb realization of Lorraine Hansberry's unfinished masterpiece - a classic of Ibsenite proportions
Epic eavesdropping casts that ultimate spell: reading ourselves by flashes of lightning.
One of the most fascinating dark-hued musicals Lloyd-Webber’s written
The Almeida’s another country. They do shows differently there. A bold communing of theatre stories with the fresh poignancy of what’s happened during 2020
Outstanding. An immediate comic classic.
Do see this.
A paean to endurance, love, and wrenched freedoms.
Completeness is just one reason to cherish this clean-driven clear-headed production
Katherine Parkinson inhabits that breaking through the office crust asphyxiating us
A unique take on the isolation foisted on all of us
A reboot for the future, a passport for change.
Helen McCrory plumbs the erotic despair of Hester Collyer’s abandoned woman in this absorbing revival of Rattigan’s masterpiece.
This magnificent revival poses even more urgent questions. A twitch on the thread for all of us.
A fleet traversal memorable for insights the company bring during and after their performance of it
One of the two most cogent, most fun Merry Wives of recent years.
Still a brave and beautiful play.
There’s a generosity here, a big hug. Theatre itself affirms the value of life to those who might yet shape it for the better.
A stupendous undertaking
It’s a joyous confection out of thin lockdown.
Treat this as a wonderful premiere you’ve not had to stir for.
Phenomenal singing all round. A more than solid recommendation for that alone.
The OFS are taking flight with the best scratch nights the Elizabethans never had.
We’re looking at a bright Book of Hours. Barrie Rutter’s done it profound service, adding a warmth and agency that opens up this pageant. This is hopefully just the first of many such he’ll bring to the Globe.
Do catch it, and match the feelgood price with nudging theatres towards opening night.
Enjoy its slow burn miracles.
Far more than a curate’s egg, this production reveals things we’ve never seen
Vibrant proof as to why it’s been called the play of the decade
Tells us more truthfully then any play has, the heroism that hardens, the sacrifice that endures.
First-rate theatre. In Joshua James’ Ben Gunn and above all Pasy Ferran’s Jim, we see stars rising quicker than Arthur Darvill’s superb Silver can point them out.
Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.
Theatrically the most thrilling end to any Bartlett play
Outstanding. Surely the definitive study of the dignity of physical labour, and breaking of its amity.