All stories by Rosemary Waugh on BroadwayStars

Thursday, March 12, 2020

Love, Love, Love review at the Lyric Hammersmith, London – ‘resonant and perceptive revival’ by Rosemary Waugh

Mike Bartlett’s Love, Love, Love premiered in 2010. Revived precisely a decade later, its central premise of the white boomer middle classes

SOURCE: The Stage Registration at 05:58AM
Thursday, March 5, 2020

The Revenger’s Tragedy review at Barbican Centre, London – ‘enjoyably silly reboot’ by Rosemary Waugh

Cheek by Jowl’s collaboration with the Piccolo Teatro di Milano opens with a blast of high church, high-camp bravado. The Duke (Massimiliano

SOURCE: The Stage Registration at 06:20AM
Wednesday, March 4, 2020

Trainers review at Gate Theatre, London – ‘striking, funny and beautifully weird’ by Rosemary Waugh

There’s a wedge of discord between text and performance running throughout Hester Chillingworth’s production of Trainers, or The Brutal Unpleasant Atmosphere of

SOURCE: The Stage Registration at 07:40AM
Monday, March 2, 2020

The Spirit: The Camel review at Battersea Arts Centre, London – ‘evocative performance piece’ by Rosemary Waugh

“Must” is the first word Thibault Delférière writes on a large cloth at the back of the stage, before continuing to drag

SOURCE: The Stage Registration at 11:59AM
Thursday, February 27, 2020

Sinners review at Playground Theatre, London – ‘uninvolving and laborious’ by Rosemary Waugh

Layla (Nicole Ansari) is up to her neck in it, literally. Condemned to death by stoning, the English Literature professor in an

SOURCE: The Stage Registration at 05:28AM
Friday, February 21, 2020

Alina Cojocaru review at Sadler’s Wells, London – ‘astonishing moments in a tonally mixed programme’ by Rosemary Waugh

Alina Cojocaru’s curated programme is, as the saying goes, a game of two halves. Pre-interval, a selection of three contemplative, tender works

SOURCE: The Stage Registration at 10:27AM
Thursday, February 13, 2020

All of It review at Royal Court, London – ‘Kate O’Flynn captivates’ by Rosemary Waugh

Alistair McDowall’s All of It is like Sally Rooney written by Samuel Beckett. Or Samuel Beckett written by Sally Rooney. Either way,

SOURCE: The Stage Registration at 09:05AM
Monday, February 10, 2020

Actor Joseph Marcell: ‘Every day somebody reminds me of Fresh Prince of Bel Air’ by Rosemary Waugh

Still fondly remembered as Fresh Prince’s butler Geoffrey in the US sitcom, actor Joseph Marcell also has an impressive stage CV, with

SOURCE: The Stage Registration at 09:18AM
Friday, February 7, 2020

The Taming of the Shrew review at Sam Wanamaker Playhouse, London – ‘misguided and depressing’ by Rosemary Waugh

The Taming of the Shrew is one of the most notoriously difficult Shakespeare plays to stage. Director Maria Gaitanidi’s production, unfortunately, does

SOURCE: The Stage Registration at 08:41AM
Tuesday, January 21, 2020

Faces in the Crowd review at Gate Theatre, London – ‘unafraid to be wild and messy’ by Rosemary Waugh

In her essay Shakespeare’s Sisters, Rachel Cusk examines the knotty ties between a woman’s domestic situation and her literary output, quoting Virginia

SOURCE: The Stage Registration at 07:01PM
Friday, January 17, 2020

Director Caroline Byrne: ‘People gravitate towards safety – I’m not interested in that’ by Rosemary Waugh

For Irish director Caroline Byrne, it’s the non-verbal world of theatre, and not the spoken one, that captivates her most. She tells

SOURCE: The Stage Registration at 09:03AM
Monday, December 23, 2019

Girl from the North Country review at Gielgud Theatre, London – ‘exceptional performances’ by Rosemary Waugh

Conor McPherson’s musical, based around the songs of Bob Dylan and set in the musician’s birthplace of Duluth, Minnesota, is not a

SOURCE: The Stage Registration at 08:25AM
Tuesday, December 17, 2019

A Midsummer Night’s Dream review at Criterion Theatre, London – ‘fizzes with energy’ by Rosemary Waugh

Matt Harrison’s production of A Midsummer Night’s Dream for the National Youth Theatre relocates Shakespeare’s original to Athens-on-Sea: a land of grab-a-bear

SOURCE: The Stage Registration at 12:56PM

Rapunzel review at the Egg, Bath – ‘an inventive, gently subversive treat’ by Rosemary Waugh

The Egg’s Christmas shows are consistently a delight and this year’s Rapunzel, written by Annie Siddons and directed by Nik Partridge, is

SOURCE: The Stage Registration at 05:16AM
Monday, December 16, 2019

Beauty and the Beast review at Theatre Royal Bath – ‘falls slightly flat’ by Rosemary Waugh

This year’s pantomime at the Theatre Royal Bath has two elements to it: the Disney-fied tale of the impoverished Belle (Clare Maynard)

SOURCE: The Stage Registration at 06:24AM
Monday, December 9, 2019

Little Miss Burden review at the Bunker, London – ‘brilliantly honest new play’ by Rosemary Waugh

Matilda Ibini’s Little Miss Burden is a gem of a play. Set in 1990s Hackney, it manages that rare feat of being

SOURCE: The Stage Registration at 06:27AM
Wednesday, December 4, 2019

Midnight Movie review at Royal Court, London – ‘ambitious but opaque’ by Rosemary Waugh

Incommunicability is frequently identified as an aspect of chronic pain. Indeed, this was precisely the topic of Rachel Bagshaw’s previous work, The

SOURCE: The Stage Registration at 11:07AM
Tuesday, December 3, 2019

Dick Whittington review at Theatre Royal Stratford East, London – ‘a real festive treat’ by Rosemary Waugh

This year’s Christmas offering from the Theatre Royal Stratford East is a joy-filled mash-up of Dick Whittington and The Pied Piper, with

SOURCE: The Stage Registration at 06:35AM
Tuesday, November 26, 2019

The Arrival review at Bush Theatre, London – ‘tender exploration of brotherhood’ by Rosemary Waugh

The most famous fraternal relationships of mythology, Cain and Abel or Romulus and Remus, end with bloodshed. Bijan Sheibani’s The Arrival, a

SOURCE: The Stage Registration at 07:01PM
Wednesday, November 20, 2019

Director Tinuke Craig: ‘Panto drives you – it wakes you up because it’s so energetic’ by Rosemary Waugh

She has tackled plays exploring trauma and state corruption, and now Tinuke Craig is turning her hand to a boldly re-imagined panto

SOURCE: The Stage Registration at 07:39AM
Tuesday, October 29, 2019

When the Crows Visit review at Kiln Theatre, London – ‘Ayesha Dharker is captivating’ by Rosemary Waugh

Anupama Chandrasekhar’s When the Crows Visit is a haunting beast of a play, one that persistently claws away at expectations and comforts

SOURCE: The Stage Registration at 06:05PM
Monday, October 28, 2019

Yarit Dor: ‘I don’t like to be boxed in – I don’t want to be just a fight director’ by Rosemary Waugh

With her focus split across different areas, Yarit Dor tells Rosemary Waugh why ‘movement practitioner’ is the term that best describes her

SOURCE: The Stage Registration at 01:00PM
Friday, October 18, 2019

Fast review at Park Theatre, London – ‘a fascinating true story’ by Rosemary Waugh

Ar the turn of the last century, long before Gwyneth Paltrow promoted alkaline water on her Goop well-being brand, ‘Doctor’ Linda Hazzard

SOURCE: The Stage Registration at 01:12PM
Monday, October 14, 2019

The Ice Cream Boys review at Jermyn Street Theatre, London – ‘engaging and well acted’ by Rosemary Waugh

Two men meet in a private hospital ward. They have been assigned adjacent rooms and are being looked after by the same

SOURCE: The Stage Registration at 06:32AM
Tuesday, October 8, 2019

The Beacon review at O’Reilly Theatre, Dublin – ‘well performed but disengaging’ by Rosemary Waugh

Nancy Harris’ The Beacon trades on stereotypes. Beiv (Jane Brennan) is a smock-wearing female artist who’s been through her sculptures-of-tampons stage, opened

SOURCE: The Stage Registration at 09:10AM

Gaslight review at Watford Palace Theatre – ‘moving update of Patrick Hamilton’s play’ by Rosemary Waugh

Richard Beecham’s update of Patrick Hamilton’s play boasts a simple but clever premise: a group of women living in a safe house

SOURCE: The Stage Registration at 07:08AM

Hecuba review at Project Arts Centre, Dublin – ‘Marina Carr’s crackling rewrite of Euripides’ by Rosemary Waugh

“This is the script. It’s what I’m meant to say,” explains Agamemnon (Brian Doherty) before he sacrifices Polyxena (Zara Devlin) in exchange

SOURCE: The Stage Registration at 05:38AM
Friday, October 4, 2019

Mám review at O’Reilly Theatre, Dublin – ‘the energy of an ancient rite’ by Rosemary Waugh

Mám opens with low-hanging clouds of smoke hanging over the stage and extending into the auditorium. With them comes a smell, a

SOURCE: The Stage Registration at 09:06AM
Wednesday, September 25, 2019

Two Ladies starring Zoë Wanamaker review at Bridge Theatre, London – ‘loses its way’ by Rosemary Waugh

Two Ladies opens with an arresting scene. The First Lady of the United States (Zrinka Cvitešić) is drenched in blood and being

SOURCE: The Stage Registration at 05:02PM
Wednesday, September 18, 2019

An Enemy of the People review at Nottingham Playhouse – ‘shrewdly judged update’ by Rosemary Waugh

“Lunatic”, “insane”, “mad” – synonyms for crazy pop up regularly in Rebecca Lenkiewicz’s version of Henrik Ibsen’s An Enemy of the People.

SOURCE: The Stage Registration at 05:49AM
Thursday, September 12, 2019

Amsterdam review at Orange Tree Theatre, London – ‘fascinating, multilayered play’ by Rosemary Waugh

The past invades the present in Maya Arad Yasur’s play Amsterdam. A pregnant Israeli violinist living in modern-day Amsterdam receives a mysterious

SOURCE: The Stage Registration at 10:41AM

All that Chat

2024-2025 BROADWAY SEASON
Jun 05, 2024: Home - Todd Haimes Theatre
Jul 11, 2024: Oh, Mary! - Lyceum Theatre
Jul 30, 2024: Job - Hayes Theater
Sep 12, 2024: The Roommate - Booth Theatre
Nov 14, 2024: Tammy Faye - Palace Theatre
Dec 12, 2024: Cult of Love - Hayes Theater
Dec 19, 2024: Gypsy - Majestic Theatre
Mar 15, 2025: Purpose - Hayes Theater
Apr 01, 2025: Glengarry Glen Ross
TBA: Titanic