All stories by Natasha Tripney on BroadwayStars

Monday, February 19, 2018

Elsa review at Vaults, London – ‘sweetly skewers millennial angst’ by Natasha Tripney

Isobel Rogers’ solo show sees her sitting on a stool with her guitar in one of the more oppressively damp spaces at

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Sunday, February 18, 2018

Angry review at Southwark Playhouse, London – ‘skilled performances, disjointed writing’ by Natasha Tripney

Philip Ridley’s new play consists of a sextet of monologues. These have been written to be gender neutral and Georgie Henley and

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Thursday, February 15, 2018

The Almighty Sometimes review at Royal Exchange Theatre, Manchester – ‘an impressive writing debut’ by Natasha Tripney

Anna is contemplating leaving home. She craves independence. She wants to go to university. She is 18 years old and that’s what

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Sunday, February 11, 2018

The Boring Room at Vaults, London – ‘insubstantial and meandering’ by Natasha Tripney

What do you get if you lock Agatha Christie, Arthur Conan Doyle and Edgar Allen Poe in a room together? Frustratingly little,

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The Poetry We Make review at Vaults, London – ‘intriguing, but underdeveloped’ by Natasha Tripney

Elliot and Robin were in a relationship for four years. It didn’t last but they had some good times. Now Robin is

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Thursday, February 8, 2018

Gundog review at Royal Court, London – ‘raw, bleak and humane’ by Natasha Tripney

Time looms large in Simon Longman’s play. The seasons change and the years roll past while the characters remain rooted in place.

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Wednesday, February 7, 2018

The Captive Queen review at Sam Wanamaker Playhouse, London – ‘Barrie Rutter’s swansong’ by Natasha Tripney

Barrie Rutter clocks off from Northern Broadsides, the company he co-founded 25 years ago, with a relocated version of John Dryden’s Restoration

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Monday, February 5, 2018

Company review at Aberdeen Arts Centre – ‘a slick staging’ by Natasha Tripney

Ahead of Marianne Elliott’s hotly anticipated gender-swapped version of Sondheim’s musical, Aberdonian director Derek Anderson presents a more conventional staging in his

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Tuesday, January 30, 2018

Julius Caesar review at Bridge Theatre, London – ‘a kinetic, promenade staging’ by Natasha Tripney

This is the season of Caesar. Last year Robert Hastie started his reign as artistic director of Sheffield Theatres with the play

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The Almighty Sometimes: the drama that asks ‘how much of me is my medication?’ by Natasha Tripney

In her prizewinning play, Kendall Feaver charts the relationship between a young woman with mental health problems and her motherWhen Kendall Feaver was going through her old school reports,…

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Monday, January 29, 2018

The Brothers Size review at Young Vic, London – ‘tender exploration of brotherhood’ by Natasha Tripney

It’s been over a decade since Tarell Alvin McCraney’s The Brothers Size was first staged at the Young Vic. It was a

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Wednesday, January 24, 2018

The Flying Lovers of Vitebsk review at Wilton’s Music Hall, London – ‘gorgeous, intimate and moving’ by Natasha Tripney

Images of flying lovers run through Emma Rice’s work. It crops up again and again, in Nights at the Circus, in Romantics

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Monday, January 22, 2018

Lady Windermere’s Fan review at Vaudeville Theatre, London – ‘Jennifer Saunders is scene-stealing’ by Natasha Tripney

Fans are versatile things. They provide their holders with a way of conveying emotions that cannot be expressed in polite company with

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Thursday, January 18, 2018

The Birthday Party review at the Harold Pinter Theatre, London – ‘Toby Jones is superb’ by Natasha Tripney

Harold Pinter’s early play The Birthday Party is a famously murky piece of work, by turns sinister and absurd. Ian Rickson’s production

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Tuesday, January 16, 2018

Natasha Tripney: Rita, Sue and Bob Too has changed since I saw it in Bolton, but so has the world by Natasha Tripney

Last September, when I went to Bolton’s Octagon Theatre to catch the opening performance of Out of Joint’s Andrea Dunbar’s Rita, Sue

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Twilight: Los Angeles, 1992 review at the Gate Theatre, London – ‘intense, yet intimate’ by Natasha Tripney

In 1992 actor and playwright Anna Deavere Smith created a verbatim piece about the LA riots. She interviewed over 300 people for

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Friday, January 12, 2018

Girl from the North Country review at Noel Coward Theatre, London – ‘superbly performed’ by Natasha Tripney

This really shouldn’t work as well as it does. Girl from the North Country takes songs from throughout Bob Dylan’s career –

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Thursday, January 11, 2018

Lobster review at Theatre503, London – ‘heavy-handed’ by Natasha Tripney

Love stories between two women remain a rarity on our stages. For this reason alone, Lucy Foster’s Lobster is a welcome addition

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Wednesday, January 10, 2018

My Mum’s a Twat review at Royal Court, London – ‘wayward, raw and very funny’ by Natasha Tripney

Billed as “an unreliable version of a true story filtered through a hazy memory and vivid imagination”, Anoushka Warden’s debut play, My

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Friday, January 5, 2018

Five-star pantomimes – the best shows of 2017 by Natasha Tripney

Now that pantomime season is almost behind us (“Oh no it isn’t” etc), here’s The Stage’s list of pantomimes that scored the

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Thursday, January 4, 2018

Natasha Tripney: We need to think differently about power and leadership by Natasha Tripney

2017 was a pretty dispiriting year all round, but it was a particularly dismaying one for women. As if it wasn’t enough

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Tuesday, January 2, 2018

The Rock for president, a Neverland musical and all-female circus: London's Vault festival by Natasha Tripney

The Waterloo arts festival is bigger and more diverse than ever, with shows performed underground and in a bookshop, a car and two shipping containersA warren of tunnels lies underneath Wate…

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Sunday, December 24, 2017

2017: Best plays of the year by Natasha Tripney

Alongside politically charged dramas about race and gender, standout works this year have included searing, re-imagined classics and a menagerie of onstage

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Thursday, December 14, 2017

Pinocchio review at National Theatre, London – ‘tonally muddled’ by Natasha Tripney

There are moments in John Tiffany’s stage version of Pinocchio that seem engineered to seep into your dreams – and not always

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Wednesday, December 13, 2017

Natasha Tripney: Panto this lazy gives the whole genre a bad name by Natasha Tripney

It’s that time of year again. The time of year when I start to question whether some psychotropic substance has found its

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Friday, December 8, 2017

Imperium Parts I and II review at Swan Theatre, Stratford-upon-Avon – ‘ambitious and intricate’ by Natasha Tripney

Mike Poulton is the go-to man when it comes adapting plot-dense novels for the stage. Having successfully adapted Hilary Mantel’s Thomas Cromwell

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Thursday, December 7, 2017

The Lion, the Witch and the Wardrobe review at West Yorkshire Playhouse, Leeds – ‘wonder-filled’ by Natasha Tripney

Sally Cookson, more than most directors, is able to capture that moment of magic when a child opens a book for the

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Wednesday, December 6, 2017

Barnum review at Menier Chocolate Factory, London – ‘lacking in magic’ by Natasha Tripney

Phineas Taylor Barnum lived a large life. The salesman, showman, promoter, impresario and would-be politician – who probably didn’t say “there’s a

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Tuesday, December 5, 2017

Dear Brutus review at Southwark Playhouse, London – ‘genuinely poignant’ by Natasha Tripney

Lost children populate JM Barrie’s work. Not just the motherless boys of Peter Pan, but the vanishing daughter of Mary Rose too.

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Saturday, December 2, 2017

Goats review at Royal Court, London – ‘a potent metaphor’ by Natasha Tripney

Syrian writer Liwaa Yazji’s play about the conflict in her county, a war that makes young men into martyrs, features six live

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Friday, December 1, 2017

Night at the Bombay Roxy review at Dishoom Kensington, London – ‘a fusion of dinner and theatre’ by Natasha Tripney

When the first branch of Dishoom opened in 2010, it was one of the few places where you could get a decent

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