All stories by Maryam Philpott on BroadwayStars

Tuesday, September 15, 2020

‘Hytner has envisaged both stories with considerable care’: THE SHRINE / BED AMONG THE LENTILS – Bridge Theatre by Maryam Philpott

The Bridge Theatre’s most savvy decision is in teaming The Shrine with Bed Among the Lentils, placing together two of our finest actors who effortless and regularly transition between stag…

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Tuesday, September 8, 2020

‘A play we are sure to see again & again’: THREE KINGS – Old Vic (Online review) by Maryam Philpott

Good things come to those who wait, an axiom that applies in duplicate to Stephen Beresford’s latest play Three Kings screened via the Old Vic’s innovative In Camera series for just five…

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Tuesday, September 1, 2020

‘Hare allows much more of his own personality to emerge’: BEAT THE DEVIL – Bridge Theatre by Maryam Philpott

The first short play is Beat the Devil in which David Hare stakes first claim to what will surely be a new genre or at least a familiar theme in the coming months – the Covid monologue.

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Monday, August 17, 2020

’An exhilarating return to live performance’: JESUS CHRIST SUPERSTAR: THE CONCERT – Regent’s Park Open Air Theatre by Maryam Philpott

Jesus Christ Superstar at Regent’s Park Open Air Theatre may say concert on the poster but there is singing, dancing, performing and storytelling nine shows a week.

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Thursday, August 13, 2020

’As vivid as anything you saw on stage 5 months ago’: BLINDNESS – Donmar Warehouse by Maryam Philpott

Ben and Max Ringham’s work for Blindness is a masterpiece, a 70-minute performance that layers story, sound effects, music and lighting design to immerse the audience in a pandemic experie…

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Tuesday, August 4, 2020

‘Adds some dynamism’: THE SECRET LOVE LIFE OF OPHELIA – Greenwich Theatre (Online review) by Maryam Philpott

The Greenwich Theatre production of The Secret Love Life of Ophelia showcases a selection of excellent young performers that inadvertently asks some big questions about how we cast Hamlet in…

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Wednesday, July 29, 2020

National Theatre at Home: Saving our lockdown & pointing the way for future engagement by Maryam Philpott

The National Theatre really did save lockdown and made us appreciate our phenomenal creative industries, but they may also have inadvertently pointed the way for the future as surely as Nati…

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Wednesday, July 15, 2020

‘Death haunts this play as surely as it does Hamlet’: How significant is the role of Hester in The Deep Blue Sea? by Maryam Philpott

Like Shakespeare’s greatest play, The Deep Blue Sea is grief channelled into art, aligning Hamlet and Hester as two souls enveloped by death and choosing whether to live.

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Wednesday, July 1, 2020

How important is theatre photography to the success of a show? by Maryam Philpott

Theatre photography is one of the most important ways to promote a new production and simultaneously one of the elements audiences – and probably most creatives – actively think least ab…

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Saturday, June 20, 2020

‘You’ll be glad to share a bit of lockdown with Michael Sheen & David Tennant’: STAGED – BBC iPlayer (Online review) by Maryam Philpott

As Simon Evans’ cheeky new comedy points out, when the Government finally gives the go-ahead, the best-prepared teams will have their pick of the playhouses and first dibs on an audience d…

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Wednesday, June 10, 2020

The cinefication of theatre predates lockdown: What are the implications? by Maryam Philpott

For better or worse, the association between theatre, television and film has only grown closer in the last ten years, not just with artists moving between the different genres but also in t…

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Thursday, June 4, 2020

Parliamentary power plays: Considering This House & other recent political dramas (not just by James Graham!) by Maryam Philpott

When it was first performed in 2012 James Graham’s This House was an affectionate satire, using its 1970s setting to examine the still young Conservative-Liberal Democrat coalition governm…

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Saturday, May 30, 2020

Streetcars, Smoke & Southern Belles: Taking on Tennessee Williams by Maryam Philpott

As a great American dramatist, Williams’s timeless understanding of human emotion and the particularly explosive dynamics of family groups has always been such a notable feature of his wri…

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Tuesday, May 5, 2020

Frankenstein vs Frankenstein: Was role swapping any more than a gimmick? by Maryam Philpott

This is the theatre at its very best and on screen, both productions are gripping, using the camera work to richly convey the abstract shapes and grand vision of its boldly beautiful staging…

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Friday, April 24, 2020

‘The very best versions of the story exist in a complex psychological abyss’: A psychological study of Macbeth across genres by Maryam Philpott

Macbeth is one of Shakespeare’s most frequently performed plays, and it is a story filled with death, danger and prophesy.

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Friday, April 17, 2020

‘This is the rarest of things, a Working-Class musical’: FLOWERS FOR MRS HARRIS – Chichester Festival Theatre (Online review) by Maryam Philpott

Far from frivolous, this fashion-based drama is a great choice for Chichester Festival Theatre’s inaugural broadcast, from a venue that so often gets it right. Perfect escapism.

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Wednesday, April 8, 2020

‘A superb choice to lift a nation’s spirits’: ONE MAN, TWO GUVNORS – National Theatre (Online review) by Maryam Philpott

The first show in the National Theatre at Home programme was the 2011 smash-hit One Man, Two Guvnors, one of the great success stories of the Nicholas Hytner era, a cheeky farce written by R…

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Saturday, April 4, 2020

An exceptionally insightful period of shows means Chekhov’s secrets are finally emerging by Maryam Philpott

Three Sisters at the National Theatre, Uncle Vanya at the Harold Pinter and The Seagull at the Playhouse Theatre have all taken very different approaches to reworking Chekhov, bringing fresh…

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Tuesday, March 10, 2020

‘Parkinson has such an ability to tread the line between comedy & emotion’: SHOE LADY – Royal Court Theatre by Maryam Philpott

Shoe Lady is an intriguing and well-considered examination of the social and domestic pressures placed on women to perform multiple and often contradictory roles in our society.

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Thursday, March 5, 2020

‘This production is the real deal’: THE LAST FIVE YEARS – Southwark Playhouse by Maryam Philpott

It may be almost 20 years old, but Jason Robert Brown’s The Last Five Years feels timeless and recognisable and this bold restaging at Southwark Playhouse is a triumph.

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Tuesday, February 25, 2020

‘Jennifer Saunders’ performance will not disappoint’: BLITHE SPIRIT – Touring & West End by Maryam Philpott

The psychology of Blithe Spirit snaps convincingly into place in Richard Eyre’s production while at the same time it fully utilises every opportunity to make the audience laugh.

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Thursday, February 20, 2020

‘Short but superb’: A NUMBER – Bridge Theatre by Maryam Philpott

A Number packs a lot of themes, meaning and ideas into just an hour of stage time in a production that asks big questions about scientific progress.

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Thursday, February 13, 2020

‘Has feeling as well as intellect’: LEOPOLDSTADT – West End by Maryam Philpott

Tom Stoppard’s personal story in Leopoldstadt sees the writer return to form as a commentator of cultural, social and historical patterns.

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Wednesday, February 5, 2020

‘A pin-drop silence falls over the auditorium’: ENDGAME / ROUGH FOR THEATRE II – The Old Vic by Maryam Philpott

Much is to be taken from the strangeness of the settings and fine characterful performances in Endgame and Rough For Theatre II which should please Beckett fans and providing plenty of thoug…

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Wednesday, January 29, 2020

‘Jodie McNee’s leading performance burns with energy’: FAUSTUS: THAT DAMNED WOMAN – Lyric Hammersmith by Maryam Philpott

In opening-up the female experience of the era in Faustus: That Damned Woman, Chris Bush reinforces the decision to switch the gender of the central character.

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Friday, January 24, 2020

‘Far lighter than the themes of the play might suggest’: UNCLE VANYA – West End by Maryam Philpott

This Uncle Vanya is more roundedly entertaining than other recent productions and while that detracts a little from the emotional undercurrents of the original, the fluidity and richness of …

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Wednesday, January 8, 2020

‘It’s fascinating writing’: THE TYLER SISTERS – Hampstead Theatre by Maryam Philpott

In The Tyler Sisters Alexandra Wood reverses expectations of storytelling and in the process fills a notable gap in charting the experience of just being a sister day-to-day and year-to-year.

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Tuesday, December 31, 2019

Theatre review of the 2019 & what to see in 2020 by Maryam Philpott

With a new year fast approaching, it is an interesting time to reflect on small changes across the theatre landscape in 2019 that will continue to shape how UK theatre will look as it moves …

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Tuesday, December 24, 2019

‘Don’t miss the chance to see this charming show’: CURTAINS – West End by Maryam Philpott

In a strong year for new London productions, Curtains finishes 2019 on a high with a true song and dance show that glories in its love of the stage and the process of putting on a production.

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Tuesday, December 17, 2019

‘Funny, sad & meaningful’: TEENAGE DICK – Donmar Warehouse by Maryam Philpott

In Teenage Dick Mike Lew has created a version of Richard III that suits the high school context extremely well, asking the audience to consider attitudes to disability, power and social str…

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Tuesday, December 10, 2019

‘Feels as fresh & relevant as ever’: A TASTE OF HONEY – Trafalgar Studios by Maryam Philpott

With its comment on the burden of expectation placed on women, class struggle, race and sexuality, more than six decades on A Taste Of Honey has lost none of its bite.

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All that Chat

2019-2020 BROADWAY SEASON
Oct 06: Slave Play
Feb 01: The Minutes
TBA: Blue