All stories by Anna Winter on BroadwayStars

Monday, October 16, 2017

The Secret Keeper review at Ovalhouse – ‘amusing and inventive’ by Anna Winter

The best fairytales filter dark material through the realm of fantasy. Angela Clerkin’s firmly tongue-in-cheek fairytale for grown ups The Secret Keeper

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Thursday, October 12, 2017

Dirty Laundry review at Spode Works, Stoke-on-Trent – ‘brilliantly acted’ by Anna Winter

Stoke-on-Trent in the early 1950s: the pot banks threw out smoke and the horizon, if you could see it, was lined with

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Tuesday, October 10, 2017

In Event of Moone Disaster review at Theatre503, London – ‘wonderfully acted’ by Anna Winter

In Event of Moone Disaster, the 2016 winner of the Theatre503 Playwriting Award, heralds a triumphant launch to the career of its

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Monday, October 9, 2017

Kings review at New Diorama, London – ‘riveting and compassionate’ by Anna Winter

Precarity, pride and power underpin Oli Forsyth’s riveting Kings. It’s both a compassionate political indictment of the contemporary rise in homelessness and

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Review: Autobiography at Sadler’s Wells by Anna Winter

Data-inspired dance: Anna Winter reviews the latest work from Company Wayne McGregor, inspired by mapping the human genome. The post Review: Autobiography at Sadler’s Wells appeared fi…

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Friday, October 6, 2017

Medea (Written in Rage) review at the Place, London – ‘verbal slip-ups undermine a compelling performance’ by Anna Winter

A rasping, strident horn heralds the arrival of Medea. A draped and veiled figure, she emerges from an upstage hinterland of shadows

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Wednesday, October 4, 2017

Tango Moderno review at Churchill Theatre, Bromley – ‘dismal and reductive’ by Anna Winter

The latest star vehicle for Strictly faves Flavia Cacace and Vincent Simone inadvertently offers a deeply dismal and reductive take on modern

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Monday, October 2, 2017

Celebrating Kenneth MacMillan’s legacy: ‘He was brave – when you’re brave you get criticised’ by Anna Winter

To mark 25 years since the death of the ballet maverick, five companies from around the UK will join the Royal Ballet

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Hijabi Monologues review at Bush Theatre, London – ‘funny, frank and moving’ by Anna Winter

Hijabi Monologues isn’t about oppression or radicalism or what it means in religious terms to wear the headscarf. These things are touched

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Friday, September 29, 2017

The Hartlepool Monkey review at Stratford Circus Arts Centre, London – ‘exquisite puppeteering married to distressing subject matter’ by Anna Winter

Gyre and Gimble’s retelling of the Hartlepool Monkey legend is highly skilful, slick and unsettling. It’s a strangely pitched production. Marketed as

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Thursday, September 28, 2017

Our Great Tchaikovsky review at the Other Palace, London – ‘poignant and vivid’ by Anna Winter

Actor, pianist and writer Hershey Felder specialises in stage portrayals of Western music’s big figures. With the likes of Gershwin, Chopin and

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Wednesday, September 27, 2017

Lucy Light review at Theatre N16, London – ‘moving exploration of friendship and femininity’ by Anna Winter

Lucy Light is a tender and funny two-hander about female friendship and the threat of cancer that is by turns sensitive and

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Monday, September 25, 2017

Training routes for West End dancers: How high-flying pros broke into theatre by Anna Winter

There’s no single route into a career on the West End’s biggest stages. Three figures from the world of dance tell Anna

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Friday, September 22, 2017

The Little Mermaid review at Mayflower Theatre, Southampton – ‘danced with aplomb’ by Anna Winter

The Little Mermaid completes Northern Ballet’s hat-trick year of premieres in sparkling style. Choreographed by company director David Nixon, it’s a thoroughly

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Thursday, September 21, 2017

The Picture of Dorian Gray review at Watermill Theatre, Newbury – ‘winning and witty’ by Anna Winter

Phoebe Eclair-Powell’s all-female adaptation of The Picture of Dorian Gray is a winning and witty affair, nimbly directed by Owen Horsley and

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Monday, September 18, 2017

Bullish review at Camden People’s Theatre, London – ‘energetic but uneven’ by Anna Winter

Bullish sets out to gore the conventional heart of the gender binary with cabaret charm, sincerity and fuzzy bovine heads. A cast

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Friday, September 15, 2017

DeadClub review at the Place – ‘superbly surreal dance theatre’ by Anna Winter

With DeadClub, directing duo David Rosenberg and Frauke Requardt leave behind the outdoor spectacles of previous collaborations and move into a suggestive

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Thursday, August 31, 2017

Jogging review at Summerhall, Edinburgh – ‘completely absorbing’ by Anna Winter

Jogging is a remarkable piece of theatre, even in its currently altered form – a result of the Home Office’s refusal to

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Tuesday, August 29, 2017

Sara Juli’s Tense Vagina review at Underbelly, Edinburgh – ‘funny and moving’ by Anna Winter

Choreographer Sara Juli’s one-woman show about urinary incontinence and the burdens of motherhood – both bodily and psychological – flows with an

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What If I Told You review at Army at Summerhall – ‘vibrant and sensitive’ by Anna Winter

Choreographer Pauline Mayers’ one-woman show What If I Told You is eloquent on ideas of difference. Part confessional monologue, memoir and workshop,

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Un Poyo Rojo review at Dancebase, Edinburgh – ‘truly joyful’ by Anna Winter

Amid the pheromone fug of a locker room, the macho posturing of two blokes in tiny shorts shades into furtive erotic promise

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Friday, August 25, 2017

This Really Is Too Much review at Underbelly Cowgate, Edinburgh – ‘skilfully performed’ by Anna Winter

Gracefool Collective comprises four graduates of the Northern School of Contemporary Dance whose first Edinburgh Fringe show mixes feminist frustration with raucous

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Scottish Dance Theatre: Process Day review at Zoo Southside, Edinburgh – ‘oddly scintillating’ by Anna Winter

Echoes of Nijinsky’s faun emerge in Sharon Eyal’s mysterious Process Day, a work danced with commanding presence by every member of Scottish

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Thursday, August 24, 2017

Lula Del Ray review at Underbelly Med Quad, Edinburgh – ‘admirable but oddly unengaging’ by Anna Winter

Manual Cinema’s Lula Del Ray is easy to admire but oddly unengaging: a slice of Americana with a strange aftertaste. In technical

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Wednesday, August 23, 2017

Origins review at Zoo Sanctuary, Edinburgh – ‘committed but conventional’ by Anna Winter

The first fratricide is given a rather flat treatment in Animikii Theatre’s Origins, a physical theatre retelling of Cain and Abel. Bare-chested

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Nederlands Dans Theater review at Edinburgh Playhouse, Edinburgh – ‘impeccably danced triple bill’ by Anna Winter

Something remarkably febrile lies at the centre of Nederlands Dans Theater’s Edinburgh triple bill. A man in the throes of death recalls

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Tuesday, August 22, 2017

Yvette review at Pleasance Courtyard, Edinburgh – ‘humorous and unsettling’ by Anna Winter

Urielle Klein-Mekongo’s one-woman show Yvette is a winning and poignant work that deals with raging teenage hormones, racial identity and the lasting

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Velvet Petal: Bedroom review at Summerhall, Edinburgh – ‘truly compelling’ by Anna Winter

Robert Mapplethorpe and the bohemian subcultures of 1970s’ New York inspire this transfixing piece – an extract from a full-length work –

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Tutu: Dance in All Its Glory review at Pleasance Courtyard, Edinburgh – ‘crude and loveless’ by Anna Winter

Tutu is a disappointing all-male production that relies on cheap visual gags in an attempt to satirise several styles of dance. Ballet

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Monday, August 21, 2017

Wanna Dance With Somebody! review at Zoo Southside, Edinburgh – ‘likeable and engaging’ by Anna Winter

A bearded man in a blue suit is dancing blithely to Whitney Houston, but things take an awkward turn in Josh Lucas’

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Celebration review at Zoo, Edinburgh – ‘eccentric and intelligent’ by Anna Winter

Celebration is a small but glorious remedy for despair. Ben Kulvichit and Clara Potter-Sweet acknowledge bewilderment and fright at the recent rise

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