FringeReview UK
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FringeReview UK 2023
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Though it might be red-topped as a Fleabag for the abused, it’s so much more excoriating. It’s also a work profoundly moving, necessary and – particularly for Gintare Parulyte - an act of courage. Lovefool’s on till May 26th; do rush to this 55-minute must-see.
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Makeshifts, Realities, Honour Thy Father
Finborough’s absorbing ReDiscovered season continues with a triple-bill of plays directed by Melissa Dunne that after tonight, you might never wish to imagine apart. Of course they should transfer, be far better-known, and at least they’re packed out - grab a ticket if you possibly can. We can be grateful again for Neil McPherson’s curating yet another series of early 20th century revivals.
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Essential theatre. Five singer-actors, memorably punchy music, witty and heartbreaking – most of all groundbreaking – storytelling. 90 minutes of this and you’ll know just what to do with the patriarchy.
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Though not the ordinary made phenomenal, Alexander Zeldin’s touchstone, it’s an outstanding personally-inflected testament and striking advance.
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The Good Dad (A Love Story), The Mitfords
Now a superb double-bill, and makes a compelling case for these two shows to be yoked together, with their intertwining of family, sisterhood, abuse and terrible consequences.
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Adaptor Alice Birch takes the House apart like Rachel Whiteread’s sculpture. Harriet Walter is magnificent: staring out like a jailor, patrolling. Hainsworth remains hypnotic and terrible, joyously sexual and headlong as her Juliet in self-destruction.
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Stephanie Mohr’s adaptation is a remarkable manifestation (no other word seems more apt) of the Charlotte Perkins Gilman short story The Yellow Wallpaper, an important realisation of a key feminist awakening. It’s good enough for you not to want it depicted in any other way.
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There’s much to learn here, and as theatrical spectacle this is the intimate intimating the epic. Clarisse Makundul has given us a powerful work, and I’d urge you to see it.