FringeReview UK 2020
Family Album is possibly the most disastrous production this already unfortunate play has ever sustained. More, Coward would declare it’s a travesty; of genius. Hands Across the Sea is pitch-perfect in a slightly outré version of what Coward meant.
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
A theatrical arcady on our doorstep
Stoppard looks at society’s phantom limb ethic. Even when it’s gone it aches, and it aches to have someone opting out.
Heartwarming, giddyingly vital yet clear with its own truth.
A thoroughly enjoyable period-style musical.
Join and revel – they’re not anywhere near ended.
A blissfully alive production.
An enduring little classic of Englishness on the turn, out of the ideal-exhausted Seventies and on the edge of darkness.
Outstanding. An immediate comic classic.
I want to know what life, not just Paul Minx will do with his characters afterwards. So will you.
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.
It’s a joyous confection out of thin lockdown.
See it and you’ll never think of the Shrew without this groundbreaking stab at the dreams of men.
Do catch it, and match the feelgood price with nudging theatres towards opening night.
Tamsin Greig’s extremes as Malvolia mark the first intimations of the terrible and define this production. The ground’s shifted.