All stories by Natasha Tripney on BroadwayStars

Friday, July 21, 2017

Much Ado About Nothing review at Shakespeare’s Globe, London – ‘high-concept Mexican staging’ by Natasha Tripney

When not dicking around with Dickens at the Open Air Theatre, Matthew Dunster has repeatedly demonstrated that he is a director who understands

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Monday, July 17, 2017

Natasha Tripney: We have a female Doctor Who at last! But what about the women storytellers? by Natasha Tripney

So Jodie Whittaker is to be the new Doctor Who. The news was extremely cheering and it was a joy to see

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Tuesday, July 11, 2017

Queen Anne review at the Theatre Royal Haymarket, London – ‘intriguing but sedate’ by Natasha Tripney

There’s a statue of Queen Anne, the last Stuart monarch, in front of St Paul’s. Sceptre in hand and a glum expression

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Thursday, July 6, 2017

Fatherland review at the Royal Exchange Theatre, Manchester – ‘moving and euphoric’ by Natasha Tripney

For their contribution to the Manchester International Festival, playwright Simon Stephens and Frantic Assembly’s Scott Graham and composer Karl Hyde – aka

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Tuesday, July 4, 2017

Titus Andronicus review at the Royal Shakespeare Theatre, Stratford-upon-Avon by Natasha Tripney

Shakespeare’s messy and excessive early play, Titus Andronicus, poses a number of problems for directors. Tonally, it’s all over the place, at

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Monday, July 3, 2017

Committee… (A New Musical) review at the Donmar Warehouse, London – ‘ambitious verbatim musical’ by Natasha Tripney

The charity Kids Company was founded in the 1980s to help London’s most disadvantaged and vulnerable children. Its distinctive chief executive Camila

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Mumburger review at Old Red Lion Theatre, London – ‘strange, sad, surreal’ by Natasha Tripney

Given how evocative and transporting smell can be, it’s puzzling that directors don’t make more use of it. In the Sarah Kosar’s

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Friday, June 30, 2017

Natasha Tripney: Oliver Frljic, the Malta Festival and the continuing crisis in Polish theatre by Natasha Tripney

Poland’s Malta Festival, which came to a close on June 25, is a multi-arts festival that takes place annually in Poznan. This

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Wednesday, June 28, 2017

Ink starring Bertie Carvel – review at the Almeida Theatre, London – ‘detailed and fascinating’ by Natasha Tripney

James Graham’s new play Ink, about the rise of The Sun newspaper, is a fascinating study of Fleet Street as it once

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Tuesday, June 27, 2017

Lady Day at Emerson’s Bar and Grill starring Audra McDonald – review at Wyndham’s Theatre, London by Natasha Tripney

Audra McDonald is a performer of great vocal prowess and precision. A six-time Tony-winner, she has a rich, operatic voice, and in

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Wednesday, June 21, 2017

Hir review at Bush Theatre, London – ‘absurd and bleak’ by Natasha Tripney

Isaac comes home from the war to a home in disarray. His father has suffered a debilitating stroke and his sister is

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Thursday, June 15, 2017

Hamlet starring Andrew Scott – review at Harold Pinter Theatre, London – ‘hypnotic’ by Natasha Tripney

His performance is one of complexity, clarity and control: In its move from the Almeida to the Harold Pinter Theatre in the

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The Country Girls review at Minevrva Theatre, Chichester – ‘gentle and lyrical by Natasha Tripney

The cover of a recent reprint of Edna O’Brien’s first novel, The Country Girls, makes it look like any number of chick

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Monday, June 12, 2017

Natasha Tripney’s top 7 shows from David Lan’s Young Vic by Natasha Tripney

After 17 years in the role, David Lan is to step down as artistic director of the Young Vic. He began his

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Fringe Programme Poetry by Natasha Tripney

"Who is torturing whom?" Natasha Tripney crafts a cut-up poem from the fever dream that is the 2017 Edinburgh Fringe programme. The post Fringe Programme Poetry appeared first on Exeunt Maga…

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Sunday, June 11, 2017

Anatomy of a Suicide review at Royal Court, London – ‘full of pain and strange beauty’ by Natasha Tripney

Alice Birch’s new play is scored like a piece of music. Her latest collaboration with director Katie Mitchell, after Ophelias Zimmer, explores

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Thursday, June 8, 2017

Edinburgh Festival Fringe 2017: drop everything and book these by Natasha Tripney

The 2017 Edinburgh Festival Fringe programme has landed. We’ll be diving in to its pages deeper at a later date, once we’re

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Barber Shop Chronicles review at National Theatre, London – ‘rich and exhilarating’ by Natasha Tripney

Set in six different cities – Lagos, Kampala, Harare, Johannesburg, Accra and London – Inua Ellam’ latest play for the National Theatre

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Wednesday, June 7, 2017

Common review at National Theatre, London – ‘ambitious but impenetrable’ by Natasha Tripney

DC Moore’s huge, bamboozling play, Common, is strangely unengaging for something that features folk horror, lesbianism, human sacrifice and an animatronic crow.

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Monday, June 5, 2017

Roller Diner review at Soho Theatre, London – ‘cartoonish energy’ by Natasha Tripney

Stephen Jackson’s Verity Bargate award-winning debut play-with-songs, Roller Diner, resists easy categorisation. Set in an American-themed greasy spoon in Birmingham that has

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Tuesday, May 30, 2017

Review: Don Juan at Jugoslovensko Dramsko Pozoriste, Belgrade by Natasha Tripney

"Appealing pyromaniac tendencies" - Natasha Tripney reviews Gorčin Stojanović's production of Don Juan. The post Review: Don Juan at Jugoslovensko Dramsko Pozoriste, Belgrade appeared fir…

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Wednesday, May 17, 2017

Life of Galileo review at Young Vic, London – ‘absorbing and intelligent’ by Natasha Tripney

It’s not always easy to see the stars in London, but Joe Wright’s engaging new production of Brecht’s Life of Galileo makes

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Monday, May 15, 2017

Dyl review at Old Red Lion Theatre, London – ‘appealingly offbeat’ by Natasha Tripney

There are two competing registers at work in Mark Wienman’s promising debut play, Dyl. While certain scenes bring to mind a flat-share

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Thursday, May 11, 2017

Richard III review at Hull Truck Theatre – ‘invigorating and exciting’ by Natasha Tripney

This is both a homecoming and a reclamation. Twenty-five years ago Northern Broadsides made its debut in Hull with a production of

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Tuesday, May 9, 2017

Occupational Hazards review at Hampstead Theatre, London – ‘patchy and pedestrian’ by Natasha Tripney

Before Rory Stewart became a Tory MP he was deputy governorate co-ordinator in Iraq in 2003, an experience he documented in his

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Monday, May 8, 2017

Kate Tempest review at Brighton Dome – ‘an electric, if all too brief, opening gig’ by Natasha Tripney

Kate Tempest, poet, performer, musician and novelist, opens this year’s Brighton Festival, of which she is guest director, with a 20-minute set

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Thursday, May 4, 2017

Natasha Tripney picks the best of Brighton’s Festival and Fringe by Natasha Tripney

Brighton comes alive in May. The Festival stretches across the city, spilling on to the beach and stretching into its suburbs. There

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Kate Tempest: ‘Everything is defined in monetary terms’ by Natasha Tripney

Interviews are weird. They occupy a very strange social space. They require a degree of performance from interviewer and interviewee both, some

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Wednesday, May 3, 2017

The Ferryman review at the Royal Court, London – ‘a production of abundance’ by Natasha Tripney

With a West End transfer already nailed down long before it even opened, this one was always going to be big. And

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The Resistible Rise of Arturo Ui starring Lenny Henry – review at Donmar Warehouse, London – ‘slick but heavy-handed’ by Natasha Tripney

If you thought the Donmar Warehouse was one of the few theatres where you could absolutely guarantee that you wouldn’t encounter audience

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Tuesday, May 2, 2017

While We’re Here review at the Bush Theatre, London – ‘gentle, wistful, tender’ by Natasha Tripney

Barney Norris is a heartbreaker. He excels at writing minor-key stories full of regret and unvoiced longing. His new play, While We’re

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