All stories by Maryam Philpott on BroadwayStars

Friday, September 28, 2018

PINTER TWO – West End by Maryam Philpott

Pinter Two is a complete change of tone from its companion collection, moving from social politics to more familiar Pinter territory, relationship politics.

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‘An examination of power & how rapidly it can be corrupted’: PINTER ONE – West End by Maryam Philpott

By emphasising the common themes in Pinter One and the topicality of their subject matter, this a very strong start for the Pinter at the Pinter season.

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Thursday, September 27, 2018

‘Delivers on so much of its promise’: Antony & Cleopatra – National Theatre by Maryam Philpott

After a genuinely exhilarating Julius Caesar at the Bridge Theatre a few months ago, Shakespeare’s subsequent tale Antony and Cleopatra has arrived at the National starring Ralph Fiennes a…

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Wednesday, September 5, 2018

‘When Barron focuses on character, she creates plenty of meaningful exchanges’: DANCE NATION – Almeida Theatre by Maryam Philpott

With plenty of influences from across film, there’s still a lot to take from Clare Barron’s play, and as annual dance fever arrives in the UK once again and mingles with a year of female…

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Wednesday, August 29, 2018

Running Wilde: How to manage a theatre season by Maryam Philpott

As Classic Spring’s year-long Oscar Wilde season comes to a close, its timely to reflect on what it has achieved. Did the season really add anything to our perception of Oscar Wilde and hi…

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Tuesday, August 21, 2018

Could Allelujah!’s transfer from stage to screen change our perception of the production? by Maryam Philpott

Screening Alan Bennett’s Allelujah! on the big screen may well alter the viewer’s perspective, placing it within the tradition of television and film drama that lends itself to the cliff…

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Friday, August 10, 2018

‘In a summer of great Irish drama, this feels unsatisfactory by comparison’: ARISTOCRATS – Donmar Warehouse by Maryam Philpott

There’s little for the cast to improve because the faults in Aristocrats lie with Friel. This production draws-out all of the core themes but cannot overcome the play’s reliance on heavy…

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Thursday, August 2, 2018

‘Doesn’t gets to grips with the dark forces at the heart of the play’: OTHELLO – Shakespeare’s Globe by Maryam Philpott

The return of Mark Rylance to The Globe main stage is the lynchpin of Michelle Terry’s first season as Artistic Director and luring her predecessor back to play Iago in a new version o…

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Friday, July 27, 2018

‘Once in a while, you know you’re in the presence of greatness’: KING LEAR – West End by Maryam Philpott

Stand-out performances in any era are often only judged so in retrospect and modern theatre offers much that will be remembered. But once in a while, you know you’re in the presence of gre…

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Thursday, July 26, 2018

‘Patrick Marber directs with skill in an engaging production’: EXIT THE KING – National Theatre by Maryam Philpott

Patrick Marber’s engaging production of Exit the King builds on the central strangeness of Ionesco’s work, attempting to break down our ongoing battle with the idea of death and why no o…

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Friday, July 13, 2018

‘A rare & beautifully-made theatrical triumph’: THE LEHMAN TRILOGY – National Theatre by Maryam Philpott

The Lehman Trilogy is a substantial achievement, a beautifully balanced depiction of the role of one family in a much wider history of America.

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Thursday, July 5, 2018

‘Beautifully pitched revival’: THE LIEUTENANT OF INISHMORE – West End by Maryam Philpott

This version of The Lieutenant of Inishmore is an impressive technical accomplishment supported by very fine performances from the ensemble, that has plenty of layers to unpick.

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Tuesday, June 19, 2018

‘A first-rate version of Treadwell’s finest work’: MACHINAL – Almeida Theatre by Maryam Philpott

Machinal is the type of production that only the Almeida seems able to produce, with an inventive vision that simultaneously draws you into the story while still keeping you at arm’s lengt…

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Wednesday, June 13, 2018

‘An enjoyable & distinct adaptation’: THE PRIME OF MISS JEAN BRODIE – Donmar Warehouse by Maryam Philpott

A hundred years since the birth of novelist Muriel Spark, her 1961 tale The Prime of Miss Jean Brodie has been adapted for the Donmar Warehouse by Blackbird playwright David Harrower and dir…

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Friday, June 8, 2018

‘Bears the marks of slightly unsatisfactory imitation’: JULIE – National Theatre by Maryam Philpott

While Polly Stenham retains plenty of Strindberg’s purpose, Julie doesn’t go quite far enough in remoulding the political and psychological shape of its characters for the 21st century.

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Thursday, May 31, 2018

‘A much-needed success for the National’: TRANSLATIONS – National Theatre by Maryam Philpott

As Ireland moves into a new era, Brian Friel’s play remains at the heart of debate – how can a country maintain its essence while embracing the modern world?

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Tuesday, May 22, 2018

‘It’s also time to let Wilde free’: AN IDEAL HUSBAND – West End by Maryam Philpott

In an otherwise charming and chic production, it can only be a shame that Classic Spring didn’t decide to take a risk with this interpretation of An Ideal Husband.

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Wednesday, May 16, 2018

‘This engaging debate & conversation is pure joy’: RED – West End by Maryam Philpott

Michael Grandage’s revival of Red may only be 90 minutes, but there is no sense of rush here, and instead the play – much like Mark Rothko’s creations – is given room to breath, to s…

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Thursday, May 3, 2018

‘Fascinating examination of power in the entertainment industry’: MOOD MUSIC – The Old Vic by Maryam Philpott

Joe Penhall’s new play Mood Music is set in the music industry and examines the complex and tricky personalities whose deep and longstanding knowledge of how the ‘business’ works means…

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Wednesday, April 25, 2018

‘Only half the production really delivers’: THE WRITER – Almeida Theatre by Maryam Philpott

The Writer is and should be a show that will divide audiences, but while the piece is pointed social commentary, it also has dramatic flaws that start to put out its own fire.

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Tuesday, April 17, 2018

‘An emotional & beautifully told family story about grief & guilt’: INSTRUCTIONS FOR CORRECT ASSEMBLY – Royal Court Theatre by Maryam Philpott

In what has been a slightly over-earnest Winter season for the Royal Court, Instructions for Correct Assembly is their best show since Anatomy of a Suicide last summer, and both use a family…

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Wednesday, April 11, 2018

‘Still as sharp & exciting as it was six months ago’: QUIZ – West End by Maryam Philpott

As Quiz transfers to the West End, James Graham’s insightful reflections on crucial moments in post-war history have fast become a vital resource in understanding who we are.

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Friday, April 6, 2018

‘Plenty of potential here’: THE WAY OF THE WORLD – Donmar Warehouse by Maryam Philpott

The Donmar’s new version of William Congreve’s play has plenty of musings on marriage and the role of women which still feel extremely pertinent; it just needs to even out the tone to ma…

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Wednesday, March 28, 2018

‘Entertaining & satisfying tribute’: THE BEST OF JAMES BOND – Royal Festival Hall by Maryam Philpott

The structure of The Best of James Bond is simple but effective, taking each film in turn, with the occasional digression into the wider cultural context, which makes for an entertaining and…

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Tuesday, March 20, 2018

‘A living, breathing evocation of Parliamentary life’: THIS HOUSE – Touring by Maryam Philpott

Although This House was written in 2012, the cyclical nature of politics means that the play is just as relevant now, with a Government attempting a major democratic change on a tiny majorit…

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Tuesday, March 13, 2018

‘A glorious adaptation’: SUMMER & SMOKE – Almeida Theatre by Maryam Philpott

The business of Summer & Smoke at the Almeida Theatre is handled with such subtly that it allows the deep emotional connection at the heart of the story to flourish. With a magnetic cen…

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Wednesday, March 7, 2018

‘A huge missed opportunity’: MACBETH – National Theatre by Maryam Philpott

Here at the National, as with many other attempts, the production’s vision lacks real purpose and fails to engage with the complex motivation of Macbeth himself, leaving him and us nowhere…

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Wednesday, February 21, 2018

‘Lavery makes the audience awkwardly complicit in her story’: FROZEN – Theatre Royal Haymarket by Maryam Philpott

Well performed and interestingly staged, Frozen’s most important effect is in reflecting society’s unhealthy obsession with serious crime, making us complicit in its presentation as ente…

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Wednesday, February 14, 2018

‘This tale of impossible love clutches at your heart’: The York Realist – Donmar Warehouse by Maryam Philpott

Nothing feels rushed in Robert Hastie’s wonderful new production of The Yor Realist at the Donmar Warehouse, allowing this beautifully sad production to really touch the heart. A modern cl…

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Tuesday, February 6, 2018

‘Lovingly created’: LONG DAY’S JOURNEY INTO NIGHT – West End by Maryam Philpott

The Bristol Old Vic’s production of Long Day’s Journey into Night at Wyndham’s wrings excellent performances from its leads and brings clarity to O’Neill’s huge canvas.

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Wednesday, January 31, 2018

‘The gender-blind casting is a production highlight’: JULIUS CAESAR – Bridge Theatre by Maryam Philpott

Nicholas Hytner’s production of Julius Caesar at the Bridge Theatre is nothing short of a Roman triumph, capturing the wonderful lyricism of Shakespeare’s writing, in what are some of hi…

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