All stories by Natasha Tripney on BroadwayStars

Wednesday, March 20, 2019

The Taming of the Shrew review at Royal Shakespeare Theatre, Stratford-upon-Avon – ‘inventive gender-flipped production’ by Natasha Tripney

It’s a woman’s world in Justin Audibert’s take on The Taming of the Shrew. He’s taken one of Shakespeare’s ugliest plays and

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Monday, March 18, 2019

Anna X review at the Vaults, London – ‘assured, ambitious storytelling’ by Natasha Tripney

Inspired by the story of Anna Delvey, the socialite-scam artist who conned hundreds of thousands of dollars out of people because they

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Top 5 theatre shows to see this week (March 18-24) by Natasha Tripney

The Taming of the Shrew – Royal Shakespeare Theatre, Stratford-upon-Avon In the second production this month to gender-flip this most problematic of Shakespeare’s

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Wednesday, March 13, 2019

Betrayal starring Tom Hiddleston review at Harold Pinter Theatre, London – ‘stylish, intimate and superbly performed’ by Natasha Tripney

Harold Pinter’s Betrayal is a play that’s easier to admire than to love. Structurally, it’s masterful, charting the emotional fallout from a

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Tuesday, March 12, 2019

Emilia’s Charity Wakefield: ‘We’re going Marie Kondo on the transfer: Don’t love it? Let it go’ by Natasha Tripney

The all-female cast, crew and creative team of Emilia briefly dethroned William Shakespeare from his home at the Globe last year. Charity

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Director Justin Audibert ‘The Unicorn’s audience is so honest: if it’s no good they tell you’ by Natasha Tripney

Before his first season as artistic director of the Unicorn Theatre opens, Justin Audibert is directing a gender-swapped version of The Taming

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Monday, March 11, 2019

Top 5 theatre shows to see this week (March 11-17) by Natasha Tripney

God of Chaos – Theatre Royal Plymouth Phil Porter returns to the Theatre Royal Plymouth following 2016’s The Man With the Hammer, with

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Monday, March 4, 2019

Top 5 theatre shows to see this week (March 4-10) by Natasha Tripney

Inside Bitch – Royal Court, London Conceived by Deborah Pearson and Stacey Gregg, this Clean Break co-production is a devised ensemble performance created

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Wednesday, February 27, 2019

The Grand Expedition review at a secret location in London – ‘a global gastronomic adventure’ by Natasha Tripney

A large part of the appeal of Gingerline’s immersive dining experiences is secrecy. Not knowing what you’re getting and where you’re going

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Monday, February 25, 2019

Top 5 theatre shows to see this week (February 25-March 3) by Natasha Tripney

The Trick – Bush Theatre, London Nine Night director Roy Alexander Weise helms an intriguing new play by Eve Leigh that interweaves themes of

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'Women are the powerbrokers': gender-flipping Shakespeare's Shrew by Natasha Tripney

Two new takes on The Taming of the Shrew radically alter the dynamic by setting the play in a matriarchal society The first time Jo Clifford was asked to adapt The Taming of the Shrew, she h…

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Tuesday, February 19, 2019

Only Fools and Horses the Musical review at Theatre Royal Haymarket, London – ‘affectionate, but flimsy’ by Natasha Tripney

Running for seven series in the 1980s and early 1990s (not to mention numerous Christmas specials), John Sullivan’s sitcom can reasonably lay claim

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Counting Sheep review at the Vaults, London – ‘propulsive and kinetic’ by Natasha Tripney

Counting Sheep, an immersive show about the 2014 Ukrainian revolution, is the headline production at this year’s Vault Festival. Its changed shape

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Monday, February 18, 2019

Top 5 theatre shows to see this week (February 18-24) by Natasha Tripney

Come from Away – Phoenix Theatre, London Irene Sankoff and David Hein’s “daring and original” new musical based on a heartwarming true story

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Sunday, February 17, 2019

Bottled review at the Vaults, London – ‘promising, powerful new writing’ by Natasha Tripney

Hayley Wareham’s debut play Bottled initially comes across as a familiar coming of age story. Katie is about to turn 15 and is

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Friday, February 15, 2019

Berberian Sound Studio review at Donmar Warehouse, London – ‘impressive directorial debut’ by Natasha Tripney

Peter Strickland’s 2012 cult film Berberian Sound Studio is a very sensory cinematic experience – aurally and visually disorientating, almost hallucinatory in

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Thursday, February 14, 2019

Mother Courage and Her Children review at Royal Exchange Theatre, Manchester – ‘brutal and brilliant’ by Natasha Tripney

Amy Hodge’s production of Brecht’s epic play of conflict and commerce sets out its stall from the start. The Royal Exchange stage

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Tuesday, February 12, 2019

All About Eve review at Noel Coward Theatre, London – ‘a stylish but functional production’ by Natasha Tripney

As a film, All About Eve is pretty close to perfect. Written and directed by Joseph L Mankiewicz in 1950, it’s also one

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Rutherford and Son review at Crucible Theatre, Sheffield – ‘an engaging revival of a resonant play’ by Natasha Tripney

Though a big hit when first staged, Githa Sowerby’s 1912 play went unperformed for decades until a relatively recent resurgence of interest

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Monday, February 11, 2019

Top 5 theatre shows to see this week (February 11-17) by Natasha Tripney

All About Eve – Noel Coward Theatre, London Gillian Anderson plays the magnificent Margo Channing opposite Lily James’ manipulative, would-be star Eve in Ivo

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Sunday, February 10, 2019

The Good Person of Szechwan review at Barbican Theatre, London – ‘an extraordinary performance’ by Natasha Tripney

The Moscow Pushkin Drama Theatre production of Brecht’s The Good Person of Szechuan contains one of the most impressive performances you’re likely

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Greyscale review at the Vaults, London – ‘high concept exploration of dating and consent’ by Natasha Tripney

Last year’s Babe.net article in which a woman detailed her disastrous date with comedian Aziz Ansari, while an ethically questionable piece of

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Wednesday, February 6, 2019

Pinter Seven review at Harold Pinter Theatre, London – ‘two plays of paranoia’ by Natasha Tripney

Jamie Lloyd’s lavishly cast and intelligently programmed season of Harold Pinter’s one-act works draws to a close with a double bill of

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The Cherry Orchard review at Barbican Theatre, London – ‘visually striking, psychologically nuanced’ by Natasha Tripney

Vladimir Mirzoev’s visually striking, psychologically nuanced staging of Chekhov’s The Cherry Orchard, one of three productions being staged in London by Moscow

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Monday, February 4, 2019

Astronaut review at the Vaults, London – ‘a compassionate show about homelessness’ by Natasha Tripney

Joe Wright’s solo show about the Irish homelessness crisis, one of a number of pieces coming to the Vault Festival from the

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Top 5 theatre shows to see this week (February 4-10) by Natasha Tripney

Blue/Orange – Birmingham Repertory Theatre Daniel Bailey, associate director at Birmingham Repertory Theatre, directs a revival of Joe Penhall’s intelligent examination of institutional

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Sunday, February 3, 2019

Violet review at the Vaults, London – ‘affecting and beautifully crafted’ by Natasha Tripney

The premise for Bebe Sanders’ Violet – a recently dumped millennial gains a new appreciation for life through a friendship with a

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Friday, February 1, 2019

Cost of Living review at Hampstead Theatre, London – ‘tender drama about the complexities of care’ by Natasha Tripney

There are some incredibly tender moments in Martyna Majok’s 2018 Pulitzer Prize-winning play about the intricate interpersonal relationship between two disabled people

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Monday, January 28, 2019

Top theatre shows to see this week (January 28-February 3) by Natasha Tripney

Father – Barbican Theatre, London Peeping Tom’s new piece, a follow-up to the distinctive Mother, “a strange and unsettling piece of dance theatre,

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Sunday, January 27, 2019

17 review at the Vaults, London – ‘a promising two-hander about teenage friendship, sex and social media’ by Natasha Tripney

Yasmin and Casey have one of those heady adolescent friendships fuelled by envy as much as affection. They know just the right

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Saturday, January 26, 2019

Opal Fruits review at the Vaults, London – ‘a highly personal solo show’ by Natasha Tripney

Holly Beasley-Garrigan’s intensely personal debut solo sets out to shine light on much of British theatre’s, and by extension society’s, galloping inadequacy

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