Genre: Solo Performance 0
Review: There But For the Grace of God (Go I)
A rare instance of an actor knowing exactly how to direct himself. It’s a super-Fringe show well worth reviving, and Welsh clearly puts his life into it.
Review: Gyles Brandreth : Break A Leg
Master class in comedic storytelling from a new national treasure
Review: Notes From the Field
What makes this harrowing selection work is how Smith varies, gradates and paces her interviews; and builds a climax. It renders the experience a memorial; it’s what such artistry’s for. You will experience nothing like this and leave reeling.
Review: Fleabag
Original, raw, brilliantly funny and devastating. This production is Fleabag neat. Its harrowing streak of genius burns like a healing scar torn.
Review: random/generations
In a season featuring not before time several superb women dramatists – Enid Bagnold and Charlotte Jones follow – starting with tucker green is a proud moment for Chichester.
Review: An Evolution of a Sexual Bean
The Funny and Empathetic Show Our Inner Teenagers Needed to See
Review: One Woman Alien
I can predict that by the end of its run, this should be the most outstanding one-person show you’ll see in the last week.
Review: She Wolf
So what did Harvey Weinstein and the fifteenth century European ruling classes have in common? Exactly. A lot. English has achieved a phenomenal amount. She co-ordinates everything as she directs and manages her own minimal props.
Review: Shostakovich 24 Preludes and Fugues
Powell makes more of the interconnectedness of this music perhaps than anyone since Tatiana Nikolayeva, and more lucidly than anybody ever. Acclimatising himself to the St Michael’s acoustics he delivered something extraordinary.
Review: The Sorrowful Tale of Sleeping Sidney
This is a gem of many colours. Do see it. The miraculous construction’s matched by Jordan’s storytelling and sense of dark mischief. In Jordan’s hands it’s a re-possession of lost innocence by a strange sleight of a knowing child.
Review: Metamorphosis
If you decide on one storytelling piece of theatre in this half of the Fringe, I doubt you’ll do better than experience this.
Review: Female Parts
Adult Orgasm Escapes from the Zoo. That title, from the 1983 version of one of the plays presented here summarises what you can expect. Sadly, subversion has to be rationed. Franca Rame and Dario Fo’s five short plays from 1977 Female Parts, get two outings – they’re joined in a similar bid for self-determination by OneNess Sankara’s The Immigrant, the first black woman in space. Go: it’s likely someone will vault over your head.
Review: Love Letters to the Public Transport System
Uplifting and as enjoyable as it is inpsirational
Review: Girls & Boys
When you hear an opening like: ‘I met my husband in the queue to board an easyJet flight and I have to say I took an instant dislike to the man’ you relax. Too soon. Thus the chippy wit of Carey Mulligan’s opening of Dennis Kelly’s monologue Girls & Boys at the Royal Court Theatre Downstairs, directed by Lyndsey Turner stretches ninety minutes into something else. Fourteen years after her debut on this stage, it confirms Mulligan as a great stage actor.
Review: Woman Before a Glass
Judy Rosenblatt’s reading irradiates Robertson’s and indeed Peggy Guggenheim’s rationale into a morphology, something felt along the gut. The appalled and occasionally appallingly purity of Peggy Guggenheim is laid bare. More widely, this work addresses the limits of patronage, of rescue, of greed and altruism, of comic high-Bohemianism and sexual affirmation before the sexual revolution. Which of course began in 1963.
Review: My Mum’s a Twat
‘Have you ever tried to sustain a relationship with a twat?’ Some debuts establish more than a new voice. Anoushka Warden’s My Mum's a Twat certainly revels in its compelling and sassy distinctiveness; but it nails to this a cause. Beyond this though is the thrill of a debut writer with the tang of their own voice stinging the air. As Warden says about something else: ‘You’ll have to take my word on that.’ So see it.
Review: The World of Yesterday
Stefan Zweig lends himself peculiarly to a theatrical dimension. It’s over in a blink. If you’re at all near, you won’t regret the Print Room’s opalescent sliver of magic conjuring the best out of this production.
Review: In Memory of Leaves
On a moored barge Natasha Langridge re-enacts her own In Memory of Leaves updated from a run last year to include this year’s tumultuous events. This is a fine, necessary work inevitably in progress. Let it settle in the water a bit more, and glitter.
Review: Dandy Darkly’s Myth Mouth
Wickedly mischievous, creative, joyous, boisterous, lyrical, brash, poetic, funny and entertaining show!
Review: Half Breed
An astounding solo performance that covers all sorts of prejudice and leaves you the better for it
Review: The Majority
If Rob Drummond’s /Bullet Catch/ charmed and alarmed at NT’s The Shed and Brighton Festival in 2013, here Drummond starts his odyssey of political immersion in a prison cell; for throwing a punch at a neo-Nazi. Opening three days after the Charlottesville murder, the timing’s eerily prescient and more charged than even Drummond might have imagined.
Review: Scottish Superwomen of Science – Minerva Scientifica
Unsung heroes of Scottish science, unsung no longer
Review: The Girl Who Jumped Off The Hollywood Sign
Poignant reminder that showbiz is not all glam and glitter
Review: Short Play Festival
This puts New Venture Theatre onto a new footing. Six new plays – two by actors taking part - and six directors, all developed by NVT’s nurturing over the past year culminates in this short festival. There’s If it was an annual, even bi-annual event, it would change things in the south east.
Review: Shirley Valentine
Prenger’s brought depth, perfect timing and the art of the comic pause. Above all her orchestration of risk, raunch and recovery comes like a peroration, an enormous yes as someone over in Hull once said. Launched into comic stardom beyond her singing roles, Prenger like Shirley Valentine is ready for anything now.
Review: Silent
A mesmeric and enthralling 90 minutes in the company of the dignified dispossessed, given voice in a solo performance of majesty, poise and grace.
Review: The Elephant Girls
It’s history, so believe it. For over a century an all-woman gang marauded London from Elephant and Castle. Margo MacDonald’s explosive one-woman play which she both wrote and acts in, asks what you might expect in a series of evenings with Maggie Hale, an amalgam of two Maggie Hs, in 1937. MacDonald’s riveting throughout, rasping her laments, lusts and long views to the dogged interlocutor. A superb performance of a remarkable play and subject, whatever its provenance.
Review: Blocked
It’s as if Billie Piper’s Yerma does stand-up. Caroline Byrne’s Blocked reveals a writer whose images stamp a scream-out-loud theatre drawn into an arc of devastation. Curnick inhabits a performer’s meltdown from a technique and emotional agency as strong as… a recording black box. Why? Find out. Superb theatre.
Review: The Cocktail Pianist
The Cocktail Pianist is ultimately radiant with self-knowledge. Hatchard is a phenomenally gifted pianist even on an electric keyboard. His touch, mercurial dispatch are not of the medley kind. A first rate show with enduring things to say, it’s also a comment on how we treat our gifts and they us.
Review: Richard III
This is an outstanding distillation of an exceptionally prolix if often brilliant early Shakespeare history drama. It could not really be executed more compellingly.
Review: Model Organisms
Donkin’s artistry as writer isn’t in doubt, and Newton-Mountney’s performance is compelling. This is eminently worth seeing especially if you like dystopian narratives of the possible near-present. The story’s complete, but this journey’s just begun.
Review: Now you see it
A rich and spellbindingly disconcerting piece of physical theatre, which captures the looping, cyclical, ordered chaos of our lives.
Review: Wet Bread
What’s Left must be right. But the country’s voted, Right. Do catch this! Left-wing activist Adele is just the dominant voice when Morag Sims puts on the best single act of a whole cast I’ve seen in a long time.
Review: Eglantyne
What’s in this name? Eglantyne means a prickly rose and smells by any name bittersweet. Founder of Save the Children who burned herself out in its service. This is enlightening and moving in equal measure, not only rendering a great service, but asking after Eglantyne Jebb’s breath-taking leaps of empathy, how far we’ve come since.
Review: The Trials of Harvey Matusow
Informative, infuriatingly endearing it’s also Cohen’s first masterpiece, however small-scaled. For that reason too, it holds a particular freshness, a discovery of a remarkable voice. Or two.
Review: Motherhood:(Un)speakable, (Un)spoken
Ninety seconds into this newly-revised one-woman play, Joanna Rosenfeld - emerging in a poke of fingers from a cagoule of brown paper - over-voices herself giving witness to tens of verbatim experiences we hear. This tells us the baby’s a parasite, sucks all your nutrients, calcium from your teeth for instance, causes injury, often permanent, can kill. This is - literally - epic interior theatre.
Review: Motherhood: (Un)speakable, (Un)spoken
Moments into this one-woman play, Joanna Rosenfeld - emerging in a poke of fingers from a cagoule of brown paper - over-voices herself giving witness to tens of verbatim experiences we hear. This tells us the baby’s a parasite, sucks all your nutrients, calcium from your teeth for instance, causes injury, often permanent, can kill. This is - literally - epic interior theatre.
Review: No’s Knife
We’re enormously privileged to be living in such a rich age of Beckett performance, and here, a soaring creative response Beckett encouraged has claimed these texts as dramatic. Somehow Dwon avoids dissolution with her tensile strength and staggered, staggering vocal range, brushed with a tang of mortality.
Review: The Magnetic Diaries
An intelligent and challenging poetic narrative exploring modern day female depression.
Review: A History, w Nowell Edmurnds
An uncomfortable reflection on our society’s adoration of fame.
Review: The Moira Monologues by Alan Bissett
Humour and pathos from one of Scotland’s foremost comedic performers.
Review: Just let the Wind Untie My Perfumed Hair … or Who is Tahirih?
A haunting account of the Iranian poet and radical feminist Tahira played by Delia Olam who has impressively written, composed and performed the entire show based on the true accounts of this once forgotten heroine.
Review: Tomás Ford’s Craptacular!
A crazy hour of anarchic cabaret karaoke with audience participation from Tomás Ford.
Review: Team Viking
"A while ago my best friend Tom died of heart cancer. His last wish was for me to give him a Viking Funeral. So I did."
