All stories by Julia Rank on BroadwayStars

Friday, December 7, 2018

Return to Elm House review at Battersea Arts Centre, London – ‘Delightful introduction to the magic of archives’ by Julia Rank

In the mid-nineteenth century, the site occupied by Battersea Arts Centre was the home of Wandsworth and national heroine Jane ‘Jeanie’ Nassau

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Tuesday, December 4, 2018

Jeannie review at Finborough Theatre, London – ‘a whimsical revival’ by Julia Rank

Aimee Stuart was one of many critically and commercially successful female interwar playwrights who have since been forgotten. Her 1940 romantic comedy

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Friday, November 30, 2018

Little Women review at the Space, London – ‘a highly likeable update’ by Julia Rank

Christmas wouldn’t be Christmas without an adaptation of a much-loved literary classic or two. Private Eye journalist Rachael Claye’s adaptation of Louisa

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Wednesday, November 7, 2018

Rep reborn: How the revived repertory model is lighting up Leatherhead by Julia Rank

With Sybil Thorndike as its patron, Leatherhead was once home to a thriving repertory theatre, but has since struggled to rebuild its identity.

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Friday, November 2, 2018

Bury the Dead review at Finborough Theatre, London – ‘quietly moving’ by Julia Rank

The centenary of the end of the First World War offers the ideal opportunity to look at this period of history from

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Monday, October 22, 2018

Frankenstein review at Sutton House, London – ‘an inventive adaptation’ by Julia Rank

  Writer/director Katharine Armitage’s adaptation of Frankenstein – a site-specific promenade but not all that immersive production in spite of being billed

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Monday, October 15, 2018

The Paradise Circus review at Playground Theatre, London – ‘an American magic realist rarity’ by Julia Rank

James Purdy isn’t amongst the better-known figures of 20th-century American literature but his work was highly esteemed by Dorothy Parker, Tennessee Williams,

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Tuesday, October 2, 2018

Mrs Dalloway review at Arcola Theatre, London – ‘an arresting adaptation’ by Julia Rank

In Hal Coase’s adaptation of Virginia Woolf’s 1925 novel, post-First World War London is full of noises and voices, as evoked by

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Monday, September 17, 2018

Flowers for Mrs Harris review at Chichester Festival Theatre – ‘rosy revival of musical with a poignant charm’ by Julia Rank

“I come from the people, they need to adore me / So Christian Dior me” demands Eva Peron as her publicity team

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Tuesday, September 11, 2018

A Winning Hazard review at Finborough Theatre, London – ‘oodles of energy’ by Julia Rank

The Victorians aren’t usually renowned for brevity. These three comediettas (A Winning Hazard, Allow Me to Apologise and Orange Blossoms) by J.P.

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Monday, September 10, 2018

About Leo review at Jermyn Street Theatre, London – ‘a mannered account of a fascinating life’ by Julia Rank

Not to be confused with Dora Carrington, the Surrealist painter and writer Leonora Carrington’s life was as rich in creative energy and

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Wednesday, August 22, 2018

The Rise and Fall of Little Voice review at Park Theatre, London – ‘commendable revival’ by Julia Rank

Sheridan Morley once remarked that future productions of Jim Cartwright’s 1992 play The Rise and Fall of Little Voice could never be

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Monday, August 13, 2018

Around the World in 80 Days review at Union Theatre, London – ‘energetic, but too much slapstick’ by Julia Rank

Tapping into the Victorian fascination with speed, time and travel, Jules Verne’s much-adapted novel Around the World in 80 Days tells the

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Thursday, August 9, 2018

Spiral review at Park Theatre, London – ‘unsettling look at dysfunctional relationships’ by Julia Rank

Abigail Hood’s play Spiral takes place against a jagged promenade in an anonymous seaside town. The seedy associations of such a milieu

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Friday, July 27, 2018

Review: The Rape of Lucretia at the Arcola Theatre by Julia Rank

An astringent, pressure cooker production: Julia Burbach directs a clear and compelling opera at Dalston's Grimeborn Festival. The post Review: The Rape of Lucretia at the Arcola Theatre app…

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Friday, July 20, 2018

Two for the Seesaw review at Trafalgar Studios, London – ‘unengaging and overstretched’ by Julia Rank

The heroine of William Gibson’s 1958 play Two for the Seesaw, struggling Bronx dancer Gittel Moskowitz, is archetypally Shirley MacLaine  (who played

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Friday, July 13, 2018

But It Still Goes On review at Finborough Theatre, London – ‘Robert Graves’ lost tragicomedy’ by Julia Rank

It’s the law of theatre that if there’s a gun on stage it will go off before the play ends. In Robert

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Saturday, July 7, 2018

The Unnatural Tragedy review White Bear Theatre, London – ‘an intriguing exercise’ by Julia Rank

Samuel Pepys described Margaret Cavendish as “a mad, conceited, ridiculous woman.” She was certainly an unusual woman for the 17th century, or

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Wednesday, July 4, 2018

For King and Country review at Southwark Playhouse, London – ‘visceral power’ by Julia Rank

Amongst the forgotten stories of the First World War, those of the soldiers executed for desertion must be some of the most

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Friday, June 29, 2018

The Tempest review at St Paul’s Church, London – ‘summery Shakespeare’ by Julia Rank

Iris Theatre’s production of Shakespeare’s final play The Tempest takes the form of a gentle promenade in which the audience is seated

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Friday, June 22, 2018

Misanthrope review at Camden People’s Theatre, London – ‘ambitious, but clumsy’ by Julia Rank

Whilst the cast of the current West End production of Tartuffe perform in a mixture of English and French, the bilingual Exchange

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Friday, June 15, 2018

Finishing the Picture review at Finborough Theatre – ‘intimate staging of Arthur Miller’s swan song’ by Julia Rank

Arthur Miller’s final play Finishing the Picture explores the manufacturing of female stars in Hollywood and their struggle to find their own

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Friday, June 8, 2018

The Yellow Wallpaper review at Omnibus Theatre, London – ‘effective glimpse into postnatal depression’ by Julia Rank

Taking its cue from Charlotte Perkins Gilman’s 1892 gothic feminist short story The Yellow Wallpaper, Ruby Lawrence’s intelligent re-imagining makes for an

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Monday, June 4, 2018

Stitchers review at Jermyn Street Theatre, London – ‘hope without sentimentality’ by Julia Rank

Sewing tends to be thought of as a quiet, meditative activity performed by women in peaceful surroundings. The men’s prison in which

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Thursday, May 31, 2018

Adam and Eve review at Hope Theatre, London – ‘unconvincing and underdeveloped’ by Julia Rank

In Tim Cook’s hour-long play Adam and Eve, the biblical progenitors take the form of a smug middle-class couple (played by Lee

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Friday, May 25, 2018

The Biograph review at Finborough Theatre, London – ‘a love letter to silent film’ by Julia Rank

In 1912, only the most desperate out-of-work theatre actors would have considered slumming it in moving picture shows. By 1928, cinema was

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Friday, April 27, 2018

Faceless review at Park Theatre, London – ‘lacks theatricality’ by Julia Rank

Based on true accounts of young women running away to join IS, Chicago-based playwright Selina Fillinger’s debut play Faceless (which she wrote

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Monday, March 12, 2018

Stuffed review at Jack Studio Theatre, London – ‘heartfelt and strongly performed’ by Julia Rank

Inspired by co-writer Lucy Joy Russell’s personal experiences of IVF treatment, Stuffed follows 40-year-old Kim and her husband Jack’s increasingly attempt to

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Tuesday, February 20, 2018

Napoleon Disrobed review at Arcola Theatre, London – ‘energetic and anarchic’ by Julia Rank

Based on a novel by Simon Leys, Napoleon Disrobed imagines a scenario in which the diminutive tyrant escapes from exile in St

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Tuesday, February 6, 2018

Cyril’s Success review at Finborough Theatre, London – ‘a good-natured revival’ by Julia Rank

In honour of the 150th anniversary of the foundation of the Finborough Arms building, the west London pub theatre is presenting a

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Wednesday, January 24, 2018

Austen the Musical review at Mirth, Marvel and Maud, London – ‘frustratingly thin portrait of an author’ by Julia Rank

The opening scene of Austen The Musical makes a strong argument in favour of ‘The Death of the Author’ mode of literary

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