FringeReview UK
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FringeReview UK 2022
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McGuinness produces one of his finest works wrought from the sawdust of others and rendered it the burst of stars that irradiate the end.
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The title role goes to Isobel Thom, making their professional debut: the greatest I’ve ever seen.
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It’s Jonathan Freedland’s and Tracy-Ann Oberman’s brilliance to bring off-kilter, casual devastation to the stage; in raw unsettlings that for many keep the suitcase packed.
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No simple swapping of heirs and originals, but a dream of the future by Seacole, or equally present dreams raking the past. Do see this.
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More of a scattering of earth, ashes and love than simply groundbreaking. But caveats aside, groundbreaking it is.
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There’s many reasons to see Williams’ finest play. To realise our potential it’s not enough to have dreams, but for someone to show us what those dreams could be.
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The Marriage of Alice B. Toklas by Gertrude Stein
Such exquisite works find their time; speak to it again and again and again.
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Pamela Carter’s schoolboys embody human connectedness, warmth, a final camaraderie before the chill of history. Unmissable.
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Not so much an event as a concentration of Errollyn Wallen’s genius celebrating the life of blind composer Maria Theresia van Paradis, in Graeae’s world-class production