Ultimately, ‘Fleabag’ series two is Waller-Bridge’s masterpiece, the perfection of the character. But the return of the original monologue isn’t just an ego trip; it’s a piece of theatre that still really stands up.
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Her timing is perfect and the punchlines are good but, still, it does feel just a little, er, old hat. You cannot help but notice that you are watching Fleabag.
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Vicky Jones’s production and Isobel Waller-Bridge’s sound design enhance the performance by their essential simplicity and, although the show has been over-hyped, it is still quirky and original.
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She takes us by the wrist and drags us at a pace through break-ups, hook-ups, family and friends. ...It’s awkward, dirty, witty and raw.
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This small but perfectly formed little critter of a show – fluffy on the outside but with sharp teeth – is a model of how to achieve theatrical riches on a shoestring.
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It's a bespoke vehicle for her sharp comic timing and physical wit as well as a nuanced piece of writing, and she plays the audience like a ukulele.
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It's a terrific performance, beautifully realised, burnishing the legend that the star has already created.
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Still, Waller-Bridge impressively manages to make matters feel remarkably intimate and conspiratorial, drawing you in with those judgemental eyebrow swoops and wicked grins.
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