All stories by Maryam Philpott on BroadwayStars

Wednesday, July 17, 2019

‘Clive Owen makes a superb return to the stage’: THE NIGHT OF THE IGUANA – West End by Maryam Philpott

Gripping performances from Clive Owen and Lia Williams, and James Macdonald’s slow-burn direction allows Tennessee Williams’ writing in The Night Of The Iguana to cast its spell.

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Friday, July 12, 2019

‘You can practically hear doors flinging open to Yarrow all over town’: JOSEPH & THE AMAZING TECHNICOLOR DREAMCOAT – West End by Maryam Philpott

The staging and orchestration of the Palladium’s new version of Joseph & The Amazing Technicolor Dreamcoat looks to the future, as a whole new set of children fall in love with this pe…

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Thursday, July 4, 2019

‘Thorne’s writing is meaningful & engaging’: THE END OF HISTORY – Royal Court Theatre by Maryam Philpott

In The End of History Thorne shuffles various perspectives within the family, examining their different experiences of the same events from multiple angles, and while these differences drive…

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Thursday, June 20, 2019

‘Has nothing to say & misses the point’: BITTER WHEAT – West End by Maryam Philpott

Bitter Wheat is not only frustratingly irresponsible in its treatment of the events that led to the #MeToo movement, it is also a poorly constructed drama.

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Wednesday, June 12, 2019

‘Brings a fresh, more contemporary feel’: A MIDSUMMER NIGHT’S DREAM – Bridge Theatre by Maryam Philpott

It is the slight rearrangement of the text and its implication for the female characters that is Nicholas Hytner’s most notable achievement here in A Midsummer Night’s Dream at the Bridg…

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Thursday, June 6, 2019

‘Highly stylised & fast-moving production which has a lot to say’: EDUCATION, EDUCATION, EDUCATION – Trafalgar Studios by Maryam Philpott

However light its frame, ultimately Education, Education, Education has serious points to make about the short-termist approaches to education funding used cynically as a political tool to w…

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Thursday, May 30, 2019

‘Sets Williams’ seminal drama in an entirely new context without changing a word’: THE GLASS MENAGERIE – Arcola Theatre by Maryam Philpott

Femi Elufowoju Jr’s production of The Glass Menagerie is fascinating with the tense and vibrant second half in particular proving both gripping and illuminating

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Thursday, May 23, 2019

‘The strength of the production is in its slow-build effect’: OUR TOWN – Regent’s Park Open Air Theatre by Maryam Philpott

Thornton Wilder’s writing in Our Town feels as fresh and innovative as it must have done in the 1930s and taking an early season risk on a less conventional play ultimately pays off.

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Thursday, May 16, 2019

‘Consistently interesting & valuable experience’: ORPHEUS DESCENDING – Menier Chocolate Factory by Maryam Philpott

Even a middling Tennessee Williams play – Orpheus Descending – is better than most, and this one still has plenty to say about sacrifice and suffocation in small-town America

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Friday, May 10, 2019

‘It’s more than enough that this eye-opening production exists at all’: DEATH OF A SALESMAN – Young Vic by Maryam Philpott

It’s Marianne Elliott’s impressionistic approach that yields considerable insight into the themes of Death of a Salesman, the characters’ attachment to material possessions as indicato…

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Wednesday, April 24, 2019

‘Builds to an edge-of-your-seat tension’: ALL MY SONS – The Old Vic by Maryam Philpott

With compelling performances from the four leads this production of All My Sons fulfils its promise, a gripping Miller tragedy that concludes with a lasting sense of devastation.

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Wednesday, April 17, 2019

‘A vibrant & meaningful interpretation’: THREE SISTERS – Almeida Theatre by Maryam Philpott

It is a vibrant and meaningful interpretation of Chekhov’s Three Sisters that reaps rewards. Keep on an eye on this new theatre partnership, it could be around for many years to come.

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Thursday, April 4, 2019

‘It is a play that requires you to feel rather than to understand’: GRIEF IS THE THING WITH FEATHERS – Barbican Theatre by Maryam Philpott

Grief on stage and in popular culture is rarely considered as a psychological state of its own but as a means or driver for other behaviour.

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Wednesday, March 27, 2019

‘Nothing less than astonishing’: Pinter At The Pinter Season – West End by Maryam Philpott

In just six months, Jamie Lloyd’s creative team and ever-changing company of actors has utterly transformed our perspective on Harold Pinter.

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Thursday, March 21, 2019

‘Dramatically engaging but morally troubling’: DOWNSTATE – National Theatre by Maryam Philpott

Whether rehabilitation is truly possible for such serious crimes committed by sex offenders, Bruce Norris never really decides, leaving only a dramatically engaging but morally troubling out…

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Thursday, March 14, 2019

‘It’s everything you could hope for’: BETRAYAL – West End by Maryam Philpott

Betrayal is everything you could hope for. The Pinter at the Pinter season has set a very high standard for itself, but what a swansong this has turned out to be.

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Tuesday, March 5, 2019

‘Small but hugely powerful’: THE JUMPER FACTORY – Young Vic by Maryam Philpott

For 45 minutes the audience may be gripped, stimulated and entertained in The Jumper Factory but this remains the everyday experience of all the men who contributed to the show, and it sligh…

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Tuesday, February 12, 2019

‘Something quite different’: ALL ABOUT EVE – West End by Maryam Philpott

This All About Eve is something quite different, same story deliberately new frame with staging that pushes at the boundaries of theatre and film.

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Thursday, February 7, 2019

‘Collections end as confidently & memorably as they began’: PINTER SEVEN – West End by Maryam Philpott

What a difference a few months can make; when the Jamie Lloyd Company first announced its Pinter at the Pinter season finale show back in May (before Betrayal was added to the programme), th…

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Wednesday, January 30, 2019

Adapting Les Misérables: Psychological depth and the period drama by Maryam Philpott

The BBC’s adaptation of Les Misérables has been a huge success, gripping Sunday night viewing for the last five weeks offering the first truly comprehensive dramatisation of Victor Hugo…

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Tuesday, January 22, 2019

‘This is exactly the kind of intellectual exercise modern theatres should engage in’: DARK NIGHT OF THE SOUL – Shakespeare’s Globe by Maryam Philpott

Someone at the Globe may have sold their soul to the devil after all because it is the companion piece to Doctor Faustus, Dark Night of the Soul, that is exactly the kind of successful initi…

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Tuesday, January 15, 2019

‘There is colour in every moment of the show’: ASPECTS OF LOVE – Southwark Playhouse by Maryam Philpott

Aspects of Love may perhaps benefit from a modern reworking to iron out the more distasteful elements, but it should be fondly remembered.

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Sunday, January 6, 2019

‘You’ll want to accept an invitation to this wonderful Pinter party’: PINTER SIX – West End by Maryam Philpott

The purpose of Jamie Lloyd’s still and contained approach is extremely well and atmospherically realised by a top-notch cast who bring such clarity to Pinter Six’s social commentary.

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Saturday, January 5, 2019

‘The theatre gift that keeps on giving’: PINTER FIVE – West End by Maryam Philpott

The collective works that make-up Pinter 5 feel as insightful and meaningful as any of the Pinter at the Pinter anthologies that have come before.

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Friday, December 21, 2018

‘A beautiful piece of writing’: SWEAT – Donmar Warehouse by Maryam Philpott

Lynn Nottage’s Pulitzer Prize-winning play Sweat comes to London for the first time, examining the personal and local consequences of a firm’s strategic decision to change the way it ope…

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Tuesday, December 18, 2018

‘It never quite unites as tidily & explosively as it promises to do’: CAROLINE, OR CHANGE – West End by Maryam Philpott

Caroline or Change has a lot going for it and three potentially interesting plot lines that should fully engage, yet it never quite unites as tidily and explosively as it promises to do, the…

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Thursday, December 13, 2018

‘Engaging & powerful three-hander’: THE CANE – Royal Court Theatre by Maryam Philpott

Mark Ravenhill’s fascinating new play The Cane at the Royal Court Theatre examines the issues of culpability for small-scale endorsed acts of violence and the nature of justice.

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Tuesday, November 27, 2018

‘You gain in a proximity to the action denied even to the front row’: NT Live screening – The Madness of King George III by Maryam Philpott

The revival of Alan Bennett’s 1991 classic The Madness of King George III at Nottingham Playhouse couldn’t then be more relevant, a play that speaks to our interest in the people who gov…

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Wednesday, November 21, 2018

‘A fine tribute to a writer of psychological fiction’: SWITZERLAND – West End by Maryam Philpott

At the Ambassadors, Joanna Murray-Smith’s new play Switzerland arrives in the West End for the first time, putting Patricia Highsmith in the spotlight with an intriguing duologue about the…

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Wednesday, November 14, 2018

‘The right balance of spectacle & story’: HADESTOWN – National Theatre by Maryam Philpott

Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.

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Wednesday, October 17, 2018

‘A version that may well change the musical forever’: COMPANY – West End by Maryam Philpott

Marianne Elliott brings Company to the West End with a production that may well change the musical forever.

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