All stories by Natasha Tripney on BroadwayStars

Friday, November 10, 2017

Twelfth Night review at the Royal Shakespeare Theatre, Stratford – ‘lavish and uplifting’ by Natasha Tripney

In a year in which we’ve already seen Tamsin Greig as Malvolia in Simon Godwin’s Twelfth Night at the National Theatre and

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Thursday, November 9, 2017

Glengarry Glen Ross at the Playhouse Theatre review – ‘a polished revival’ by Natasha Tripney

Written in 1983, David Mamet’s lancing of American masculinity and capitalism feels more an indictment than ever. Glengarry Glen Ross’ team of

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Tuesday, October 31, 2017

The Exorcist review at Phoenix Theatre, London – ‘crass and schlocky’ by Natasha Tripney

Even if you don’t subscribe to film critic Mark Kermode’s view that The Exorcist is a cinematic masterpiece, its power to disturb

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The Slaves of Solitude review at Hampstead Theatre, London – ‘a patchy adaptation’ by Natasha Tripney

Despite kicking off with a scene of confrontation, this new stage adaptation of Patrick Hamilton’s 1947 novel of lonely souls thrown together

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Thursday, October 26, 2017

Young Marx review at the Bridge Theatre, London – ‘funny, but dramatically underpowered’ by Natasha Tripney

The Bridge Theatre – Nicholas Hytner and Nick Starr’s shiny new 900-seat theatre near Tower Bridge – throws open its doors with

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Tuesday, October 24, 2017

Natasha Tripney: Critics need to remember their power and ditch the toxic adolescent commentary by Natasha Tripney

Lyn Gardner has already done a very good job of covering the meat of last week’s Widening the Lens debate on diversity

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Witness for the Prosecution review at County Hall, London – ‘cumbersome’ by Natasha Tripney

You can see why the idea appealed. The council chamber at County Hall, with its pillars and panelling, with its grand galleries,

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Thursday, October 19, 2017

The Lady from the Sea review at the Donmar Warehouse, London – ‘earthbound’ by Natasha Tripney

Ibsen’s The Lady from the Sea is a strange and slippery play. Having been recently appointed as artistic director of the Young

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Tuesday, October 17, 2017

Venus in Fur review at Theatre Royal, Haymarket, London – ‘Natalie Dormer is magnetic’ by Natasha Tripney

David Ives’ Venus in Fur is as much about power as it is about sex. More precisely it’s about power in the

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A Woman of No Importance review at Vaudeville Theatre – ‘gently revelatory’ by Natasha Tripney

Launching a year-long season of Oscar Wilde’s work along with his new Classic Spring company, Dominic Dromgoole’s production of A Woman on

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Friday, October 13, 2017

Beginning review at National Theatre, London – ‘tender and resonant’ by Natasha Tripney

The party’s over. Laura and Danny are the only ones left. It’s late and they’re both a little drunk – and more

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Thursday, October 12, 2017

Saint George and the Dragon review at the National Theatre, London – ‘disappointing’ by Natasha Tripney

The cavern that is the Olivier is a difficult space to fill. Its size seems to encourage an epic sensibility in the

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Tuesday, October 10, 2017

Mel Brooks’ Young Frankenstein review at the Garrick Theatre, London by Natasha Tripney

Reanimation is a tricky thing. Time is a variable you ignore at your peril. There’s a argument to be made that Mel

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Monday, October 9, 2017

Heisenberg: The Uncertainty Principle review at Wyndham’s Theatre – ‘a lopsided two-hander’ by Natasha Tripney

First staged in New York in 2015, Simon Stephens’ two-hander, Heisenberg: The Uncertainty Principle, is an attempt to fuse elements of romantic

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Friday, September 22, 2017

Coriolanus review at Royal Shakespeare Theatre, Stratford-upon-Avon – ‘moments of power’ by Natasha Tripney

Angus Jackson’s production, the fourth in the Royal Shakespeare Company’s Roman season, opens with a drawn-out sequence in which a forklift truck

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Thursday, September 21, 2017

Dido, Queen of Carthage review at the Swan Theatre, Stratford-upon-Avon – ‘rich performances’ by Natasha Tripney

The whims and wishes of the gods feature prominently in Christopher Marlowe’s early, infrequently performed play. Dido, the Phoenician queen, and her

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Wings review at Young Vic, London – ‘Juliet Stevenson takes to the air’ by Natasha Tripney

Mrs Stilson has been untongued by a stroke. This one-time wing-walker, now in her 70s, has lost her words. In this revival

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Wednesday, September 20, 2017

Pride and Prejudice review at Nottingham Playhouse – ‘Sara Pascoe takes on Jane Austen’ by Natasha Tripney

Sara Pascoe is a woman who knows funny. Jane Austen is no slouch on this front either. The comedian’s new stage adaption

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Monday, September 18, 2017

Oslo review at National Theatre, London – ‘intelligent and intricate’ by Natasha Tripney

For a play that chiefly consists of men in suits sitting around tables smoking and talking, JT Rogers’ Oslo is gripping stuff.

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Friday, September 15, 2017

Deathtrap review at Theatre Royal, Brighton – ‘a tired revival’ by Natasha Tripney

Ira Levin’s 1978 play Deathtrap is a simultaneous sends up and salute to the mid-20th century stage thriller. Sidney Bruhl, a has-been

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Thursday, September 14, 2017

Boudica review at Shakespeare’s Globe, London – ‘ambitious but flawed’ by Natasha Tripney

She’s gone by many names – Boudica, Boadica, Bonduca – the warrior queen of the Iceni in her chariot, with her daughters

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Tuesday, September 12, 2017

Rita, Sue and Bob Too review at Octagon Theatre, Bolton – ‘a timely revival’ by Natasha Tripney

Sex is central to Rita, Sue and Bob Too – the film version was released with the tag-line ‘Thatcher’s Britain with her

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Monday, September 11, 2017

Doubt, a Parable review at Southwark Playhouse – ‘strong performances’ by Natasha Tripney

Set in a catholic school in the Bronx in the 1960s, John Patrick Shanley’s 2004 Pulitzer-winning play, Doubt, pits the school’s staunchly

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Friday, September 8, 2017

Coriolanus review at Rose Playhouse, London – ‘surefooted direction’ by Natasha Tripney

With its depictions of arrogant, feuding politicians accused of contravening the will of the people, Shakespeare’s Coriolanus is highly pertinent to the

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Thursday, September 7, 2017

Hamlet starring Tom Hiddleston – review at Vanbrugh Theatre, London – ‘Hiddleston shines’ by Natasha Tripney

There hasn’t exactly been a shortage of Hamlets of late, but what marks Tom Hiddleston’s apart is its exclusivity. Directed by Kenneth

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Wednesday, September 6, 2017

Six Edinburgh Festival Fringe shows in search of a transfer by Natasha Tripney

The Edinburgh Fringe is over for another year. The streets are free of flyers. Normality has reasserted itself. Here are six of

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Thursday, August 31, 2017

Missed the Edinburgh Fringe? Here’s where to see the best shows by Natasha Tripney

The Edinburgh Festival Fringe may have had its curtain call, but many shows that played there can now be seen elsewhere across

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Wednesday, August 30, 2017

Seance review at Summerhall, Edinburgh – ‘creepy binaural experience’ by Natasha Tripney

Darkness is a canvas.  We fill it with our fears. We populate it with monsters of our making. Glen Neath and David

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Friday, August 25, 2017

Nocturnes review at Zoo, Edinburgh – ‘ambitious but underwhelming’ by Natasha Tripney

Imitating the Dog has explored the relationship between live performance and film in its work before. Nocturnes is intended as a homage

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Derailed review at Pleasance Dome, Edinburgh – ‘muddled piece about Brexit’ by Natasha Tripney

Patricia Rodriguez and Merce Ribot are having a party. With a messy Brexit looming and no guarantees that EU citizens will have

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Not I review at Pleasance Courtyard, Edinburgh – ‘cathartic, inclusive and political’ by Natasha Tripney

Samuel Beckett’s Not I is a notoriously difficult piece to perform. Delivered at ferocious speed, it’s regarded as test of any actor.

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