All stories by Natasha Tripney on BroadwayStars

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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Wednesday, August 23, 2017

Love+ review at Summerhall, Edinburgh – ‘funny and thoughtful’ by Natasha Tripney

Irish company Malaprop Theatre is interested in all the ways technology is remaking our romantic lives. While the company’s other show, BlackCatfishMusketeer,

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Sasquatch: The Opera review at Summerhall, Edinburgh – ‘muddled but oddly hypnotic’ by Natasha Tripney

This new opera by Faith No More’s Roddy Bottum feels entirely at home in Summerhall’s late night mind-fuck slot. It’s a fever-dream

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Tuesday, August 22, 2017

Morale is High (Since We Gave Up Hope) review at Summerhall, Edinburgh – ‘engaging performers’ by Natasha Tripney

In this rambling, affable piece of gig-theatre by Manchester-based company Powder Keg, Ross McCafferty and Jake Walton ask questions about the state

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Monday, August 21, 2017

Siren review at Pleasance Dome, Edinburgh – ‘strange little play is a grower’ by Natasha Tripney

A single siren sits on her island, aching for companionship but destined to consume each stray sailor that drifts her way. That’s

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Our Carnal Hearts review at Summerhall, Edinburgh – ‘funny, candid show about envy’ by Natasha Tripney

Structured a little like a church service, Rachel Mars’ Our Carnal Hearts explores the dark corners of our psyches: the places where

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Digs review at Pleasance Courtyard, Edinburgh – ‘frustratingly shapeless and underdeveloped’ by Natasha Tripney

This faintly surreal two-hander feels like an attempt to evoke the awkwardness of shared living and the claustrophobic conditions with which most

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Alan, We Think You Should Get a Dog review at Pleasance Courtyard, Edinburgh – ‘confusing debut’ by Natasha Tripney

Daisy and Ollie’s dad is not himself. His memory’s going and he can no longer look after himself. But instead of drawing

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Friday, August 18, 2017

The Class Project review at Summerhall, Edinburgh – ‘exploration of accent and class’ by Natasha Tripney

Rebecca Atkinson-Lord has lost her voice. Or rather she’s lost the voice of her home. She no longer speaks with a Wolverhampton

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Pike Street review at Roundabout at Summerhall – ‘vivid one-woman show’ by Natasha Tripney

In Nilaja Sun’s one-woman show, Pike Street, she brings a whole neighbourhood to life. She plays all the members of a New

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Instructions for Border Crossing review at Summerhall, Edinburgh – ‘a layered and intriguing piece’ by Natasha Tripney

Our world is filled with borders. We have, as a species, a tendency to draw lines around ourselves. The policing of these

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The Bearpit review at Zoo Southside, Edinburgh – ‘intriguing but unfocused’ by Natasha Tripney

There are shades of James Fritz’s brilliantly destabilising Ross and Rachel in The Bearpit. Two young people approaching their five-year anniversary talk

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Thursday, August 17, 2017

Anyone’s Guess How We Got Here review at Zoo, Edinburgh – ‘unsettling and intriguingly disruptive’ by Natasha Tripney

The third show from Barrel Organ, the company behind Nothing and Some People Talk about Violence, sees its work evolving in intriguing

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Old Stock review at the Canada Hub, King’s Hall, Edinburgh – ‘stunning vocal performance’ by Natasha Tripney

In 1908 playwright Hannah Moscovitch’s great-grandparents fled the pogroms in Romania for a new life in Montreal. Old Stock, a ‘refugee musical’,

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Eggsistentialism review at Summerhall, Edinburgh – ‘charismatic and charming’ by Natasha Tripney

When Joanne Ryan reached 35, she started to seriously consider when and if she would have children. After all, this is the

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