All stories by Maryam Philpott on BroadwayStars

Tuesday, July 26, 2022

‘Experiments with its theatrical form’: CHASING HARES – Young Vic by Maryam Philpott

Exploitation can take many forms and sometimes it even begins with a creative opportunity. Sonali Bhattacharyya’s lead character in new play Chasing Hares at the Young Vic takes a while to…

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Thursday, July 21, 2022

‘Still has a hold’: CLOSER – Lyric Hammersmith by Maryam Philpott

Not quite a perfect version of Closer at Lyric Hammersmith but a compelling one. If the heart really just looks like a fist wrapped in blood then why, Lizzimore’s production asks, does it …

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Friday, July 15, 2022

‘Utterly joyous’: JACK ABSOLUTE FLIES AGAIN – National Theatre by Maryam Philpott

Delayed by Covid for over two years, Jack Absolute Flies Again finally lands on the Olivier stage when we have never needed Richard Bean and Oliver Chris’ goofy and hilarious romp more. An…

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Wednesday, June 29, 2022

‘Class, race & past activism haunt this family saga’: THE FELLOWSHIP – Hampstead Theatre by Maryam Philpott

First female friendship is the focus of Roy Williams’ latest play The Fellowship, premiering at the Hampstead Theatre as class, race and past activism haunts this family saga.

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Tuesday, June 28, 2022

‘Really gets to grips with the multiple meanings of its title’: MAD HOUSE – Ambassadors Theatre by Maryam Philpott

Ambassadors Theatre, London – until 4 September 2022 For the second time in successive weeks an American family drama opens in the West End and while Jitney may be a less obvious group of …

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Thursday, June 16, 2022

‘There are real moments of magic’: JITNEY – Old Vic Theatre by Maryam Philpott

Jitney, revived at the Old Vic in a production by Tinuke Craig, is a piece that took the best part of 40 years to make it to Broadway in late 2016 after decades of smaller productions around…

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Thursday, June 9, 2022

‘Well on the way to being a very fine political satire’: TONY! [THE TONY BLAIR OPERA] – Park Theatre by Maryam Philpott

Tony Blair became an MP and Prime Minister with the sole intention of meeting Mick Jaggers [sic], at least in Harry Hill and Steve Brown’s new satire Tony! [The Tony Blair Rock Opera] at t…

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Sunday, June 5, 2022

‘Applauds Williams’ technique as a conjurer’: THE GLASS MENAGERIE – Duke of York’s Theatre by Maryam Philpott

Amy Adams, already an acclaimed and multi Oscar-nominated film actor with some notable stage experience in the US, makes her West End debut in Jeremy Herrin’s new version of The Glass Mena…

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Friday, May 27, 2022

‘Worth the wait’: THE UNFRIEND – Chichester by Maryam Philpott

Delayed two years by the pandemic, one of the most hotly anticipated shows of 2020 finally makes it to the stage in 2022. The combination of TV writer and former Dr Who showrunner Steven Mof…

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Thursday, May 19, 2022

‘The only person who transforms Eliza is Eliza herself’: MY FAIR LADY – London Coliseum by Maryam Philpott

If you want to see a My Fair Lady that feels like a scene for scene remake of the film, then this production at the London Coliseum will not disappoint, but equally for anyone looking for a …

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Thursday, May 12, 2022

‘A reminder of what a powerful actor Mark Rylance can be’: JERUSALEM – Apollo Theatre by Maryam Philpott

As Jez Butterworth’s production returns to the West End, with original cast members Mark Rylance and Mackenzie Crook, it is interesting to reflect on how well-anointed modern classics fare…

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Friday, May 6, 2022

‘Something that disconcerts more than entertains’: OKLAHOMA! – Young Vic Theatre by Maryam Philpott

The Young Vic presents a rather sexy version of Oklahoma! that replaces twee interpretations of cowboy country with a throbbing desire that inflicts the inhabitants of this rural town, and b…

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Monday, May 2, 2022

‘A tough watch with an abstract style & disjointed scenes’: MARYS SEACOLE – Donmar Warehouse by Maryam Philpott

Jackie Sibblies Drury’s new play is an entirely female affair, no male characters are present, implied or even speak, only the time-travelling idea of Mary, her ghostly mother, Mary’s da…

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Saturday, April 30, 2022

‘Both a parody & a warning about that future’: THE 47th – Old Vic Theatre by Maryam Philpott

Mike Bartlett has made a bit of an art out of notions of the counter-factual future. In The 47th, he grounds his flights of fancy in the knowledge of institutions, people and political tides.

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Wednesday, April 13, 2022

‘One of the strangest & least performed musicals in the Sondheim canon’: ANYONE CAN WHISTLE – Southwark Playhouse by Maryam Philpott

This wacky tale of faked miracles, town economics, mental health and social segregation is a puzzling one, combining some really great Stephen Sondheim songs and some strong female character…

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Thursday, April 7, 2022

‘Courtroom fireworks are what Aaron Sorkin does best’: TO KILL A MOCKINGBIRD – West End by Maryam Philpott

Aaron Sorkin’s much-anticipated production of To Kill a Mockingbird may have had to exchange original British lead Rhys Ifans for the equally impressive Rafe Spall, but otherwise emerges r…

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Monday, March 28, 2022

‘Ruth Wilson & Ivo van Hove once again prove a dynamic pairing’: THE HUMAN VOICE – West End by Maryam Philpott

Ivo van Hove puts aside his filmic style for an intimate monologue about the end of love. Starring Ruth Wilson, Jean Cocteau’s play The Human Voice, is a sympathetic study of a woman drive…

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Thursday, March 24, 2022

‘Mike Bartlett’s play continues to fascinate & challenge’: COCK – West End by Maryam Philpott

Theatre has always been a place to explore identity by using different character perspectives to consider points of view, social structures or inherited notions of what an individual can and…

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Thursday, March 10, 2022

‘Stylised dialogue, questionable gender politics & a too literal setting’: THE WOODS -Southwark Playhouse by Maryam Philpott

The Woods feels decidedly old-fashioned in style and structure, using its characters as ciphers for David Mamet’s abstract conclusions about relationships between men and women.

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Monday, February 28, 2022

‘This is easily Kit Harington’s finest career performance on stage or screen’: HENRY V – Donmar Warehouse by Maryam Philpott

Henry V is the greatest war play ever written and is the template for all literary responses to conflict since produced.

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Saturday, February 26, 2022

‘Places the classic boy-meets-girl-but-can’t-have-her template in a new location’: BROKEN WINGS – Charing Cross Theatre by Maryam Philpott

In Nadim Naaman and Dana Al Fardan’s new musical Broken Wings, there are plenty of soaring melodies for lovers and just as many haunted and broken-hearted ballads for the less romantic.

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Thursday, February 17, 2022

‘An extraordinary piece about infidelity, guilt & distorted reality’: THE FOREST – Hampstead Theatre by Maryam Philpott

It has been an extraordinarily fruitful partnership between writer Florian Zeller and translator-playwright Christopher Hampton over the past few years with adaptations of Zeller’s disconn…

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Saturday, February 12, 2022

‘What could be a very clinical piece can also be deeply human’: A NUMBER – Old Vic Theatre by Maryam Philpott

It may be the second time in as many years that Caryl Churchill’s A Number has been performed in London, but it is a play that bears restaging, yielding greater insights every time you see…

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Monday, January 31, 2022

‘Elizabeth McGovern captures the mercurial complexities of Ava Gardner’: AVA: THE SECRET CONVERSATIONS – Riverside Studios by Maryam Philpott

Beautiful, sexy and luminous are words most associated with Hollywood starlets of the 1940s, 50s and 60s, and indeed they were, but they were also talented and savvy movie actors who command…

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Wednesday, January 26, 2022

‘A masterclass in succinct & intensive storytelling’: THRILL ME The Leopold & Loeb Story – Jermyn Street Theatre by Maryam Philpott

Stephen Dolginoff’s 2003 musical Thrill Me: The Leopold and Loeb Story was the latest in a long line of cultural products inspired by this infamous murder case in 1920s America.

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Saturday, January 22, 2022

‘Interesting themes about human behaviour under extreme pressure’: FORCE MAJEURE – Donmar Warehouse by Maryam Philpott

Force Majeure is a random act of God that cannot be predicted or measured that entirely disrupts planned activity, something we can all appreciate a little better in the past two years.

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Friday, January 14, 2022

‘Tamsin Greig is exceptionally funny, candid & cutting in equal measure’: PEGGY FOR YOU – Hampstead Theatre by Maryam Philpott

What is a play? A message to the future, a fart in your face or a pain in the arse? What is a play? A message to the future, a fart in your face or a pain in the arse? Just a few of th…

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Sunday, January 9, 2022

‘A smart story about composition & the appropriation of music’: FOLK – Hampstead Theatre by Maryam Philpott

With its interest in identity, ownership, tradition and the ‘rules’ applied to written rather than oral forms, Nell Leyshon’s play, which aired on Radio 3 in 2021, now earns a fully-st…

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Friday, December 31, 2021

New work, new voices, hybrid approaches: How theatre changed in 2021 by Maryam Philpott

It has been another complicated year for theatres with venues unable to welcome in-person audiences for more than five months of 2021 and the tail end of the year returning to enforced closu…

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Tuesday, December 21, 2021

‘The in-your-face ferocity is hugely impactful in such a small space’: SPRING AWAKENING – Almeida Theatre by Maryam Philpott

Directed by Rupert Goold with a cast of highly talented young performers, this energetic production about teenage desire and the failure of parental direction is a rare musical choice for th…

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Saturday, December 11, 2021

‘You may as well hand this company a truckload of Oliviers right now’: CABARET – West End by Maryam Philpott

We’ve all spent far too long sitting alone in our rooms so the cabaret is exactly where we need to be. What emerged as a delicious theatre rumour a few months ago has not only become a rea…

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