Paul Taylor

Paul Taylor is a critic with The Independent (UK). This account has been auto-generated, and does not indicate that this person is an active member of Show-Score.com. That said, if you "follow" this member, you will automatically be updated whenever s/he writes a new review.

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Reviews (35)
Waitress (London)
Covent Garden
The Independent (UK)

“A romcom set in the workplace and a feminist drama in which the protagonist makes painful progress to the belatedly assertive moment when she boots out her smugly abusive husband. Admittedly, there are moments of discomfort but it says a lot for the fast sass and wonderful take-it-or-leave-it silliness and the occasional sugar-free sequences in Nelson's deft book that the spot-on cast...mostly manage to give these elisions an elating good humour and humanity." Full Review

Come from Away (London)
Charing Cross
The Independent (UK)

"A warm group hug of a musical by Irene Sankoff and David Hein...In these divisive times, with invasion scares and border walls and trumped-up national emergencies, the show’s celebration of selfless hospitality has certainly found its moment...There is, to be sure, a lot to like and admire in the proceedings. The choral singing has such fervour that your body resonates like a struck tuning-fork...It’s stirring and a bit queasy-making." Full Review

The Independent (UK)

"Even folk who are inclined to be sniffy about jukebox musicals will be overwhelmed by this one. It has everything going for it. There are the riches of Tina Turner's back catalogue. There is the inspiring story of an African American woman who was able to overcome severe personal and professional adversity and go on to reach the pinnacle of her profession....The songs are used beautifully, whether to drive the plot forward or drench it in mood – or both." Full Review

The Independent (UK)

for a previous production "Eyre’s revival...is shatteringly good. After three-and-half-hours...you emerge drained but in that state of elation to which only true tragedy, confronted searchingly and honesty, can bring you...Eyre conducts the piece with a masterly touch, its repetitions...coming across like the emotionally incremental recapitulations in a great piece of music...The production is wonderfully alert to the way that the characters swing on an axis between love and hate...An unmissable masterpiece." Full Review

The Independent (UK)

"All the fuss was largely justified...The production keeps warm, expert control of the mercurial moods and temperamental traffic of the vast family...Some very well written scenes of late-night teenage boozing explore the tensions between peaceable rural behaviour of the Carney lads and the harder ways of their visiting Corcoran cousins...The piece is not as original as 'Jerusalem,' but it has the feel of unearthed, instant classic." Full Review

The Independent (UK)

"The kids are more than alright – in fact, they’re an absolute joy in this ridiculously entertaining new show...The show, directed by Laurence Connor, is a quirky hoot with a heart, a fable about the empowering force of music that crackles with mischief and sly irreverence...Serenely indifferent to the narrative implausibility but shrewd and truthful about the relationships thus forged." Full Review

The Independent (UK)

for a previous production "Theatre's love affair with Morpurgo continues with this stage version of his novella...It makes for a winningly rumbustious family show, spilling over with song and dance and inventive cheek, that movingly affirms life in the face of the tragedy at its heart...I'm not sure that they've yet achieved the ideal balance between inspiring sentiment and inspired silliness and the proceedings feel a bit padded-out, but the sheer verve of the ensemble should delight punters of all ages." Full Review

Yerma
Upper E Side
Independent.IE

for a previous production "A shatteringly powerful re­invention...It elicits from Piper a central performance of such devastating emotional force that I wasn't surprised to discover myself still visibly shaking from its effects afterwards...The action in this production is trapped within a glass box that increasingly makes us feel like the anguished voyeurs of some suffocating process...The production is both meticulous and merciless...modulating from smart social comedy to the tragic extremes." Full Review

Battlefield
Brooklyn
The Independent (UK)

for a previous production "The luminous acting by the barefoot, multi-ethnic cast of four beautifully serves the production's beguiling mix of grave sorrow and mischievous levity, its shifting moods underscored by a virtuosic Japanese percussionist...The proceedings unfold with a limpid minimalism...The perspective has a strange, uplifting charm to the comfortably off. The wisdom of renunciation and resignation might not feel so appealing to a crowd of desperate Syrians." Full Review

The Independent (UK)

for a previous production "In general, I dislike the 'X cannot efface the memory of Y' school of theatre criticism but it would be idle to pretend that the acting here is on that stratospheric level of elegantly deadly cynicism and poised, manipulative skulduggery...The production finds it harder to achieve an appropriate tone for the behaviour of the denizens of this highly cultured snake pit...Dominic West who is an excellent actor, seems to me miscast and not well directed here." Full Review

The Independent (UK)

for a previous production "Where better to serve up Sondheim's gory masterpiece than a working old-fashioned pie shop?...Not that there's anything gimmicky about Buckhurst's ingeniously immersive, flickeringly candle-lit production. The in-yer-face, claustrophobic proximity heightens both the black farce and the tragic horror...And hearing the score – sung with terrific commitment by Jeremy Secomb's haunted Sweeney and cast – at such intimate quarters allows you to revel in the intricacies of the writing." Full Review

Golem
Upper W Side
The Independent (UK)

for a previous production "You won't find funnier or more dazzlingly synchronised interaction between live performance and a crazily satiric animated world than in 'Golem'…All clipped 1920s accent and permanently sullen pout, Shamira Turner is splendid as the Golem's owner, the geeky Robert…The joyously deadpan script and extraordinarily precise direction are by Suzanne Andrade. Paul Barritt's animations are mischievously referential tour de force." Full Review

Skylight
Midtown W
The Independent (UK)

for a previous production "A splendid revival...The actors beautifully trace the arc from the thaw of verbal sparring as Kyra cooks spaghetti bolognese, through rekindled passion to the final bout of full-blooded ideological jousting in which one's sympathies are swung one way and another...And if they win the odd round of applause, it's because the play is speaking with a discomfitingly renewed relevance." Full Review

The Independent (UK)

for a previous production "The productions have an admirably assured grasp of the plays' panoramic sweep, moving with fluency and a fine feel for thematic counterpoint between care-racked court and lax, frowsty Eastcheap, boozer and battlefield, urban and pastoral...It's so over-the-top that I'm afraid I found Hotspur's death – after the thrillingly tense climactic sword-fight – to be a relief rather than a wrench...blends fathomless gloom and mad merriment. Strongly recommended." Full Review

King Charles III
Midtown W
The Independent (UK)

for a previous production "Written largely in cod blank verse, with many witty echoes of Shakespeare's history plays, Bartlett's speculative drama is a more studied and politically thoughtful act of lese-majeste. Rupert Goold's pitch-perfect production...is up there with Shaw's' Apple Cart,'' Full Review

American Psycho
Midtown W
The Independent (UK)

for a previous production "Bret Easton Ellis's 1991 novel seems an improbable subject for a tuner. But this witty, almost terminally knowing show tackles that difficulty with deadpan cheek...Though it calls itself 'a musical thriller', the show is short on visceral tension...At the interval, I was very undecided. But the all-singing-and-dancing company perform the piece with terrific attack and the second half manages to take you into Patrick's panicking emptiness without a hint of sentimentality or sanitisation." Full Review

Ubu Roi
Upper W Side
The Independent (UK)

for a previous production "This exhilaratingly fresh and witty take on the play has a blackly hilarious twist...This is a production that keeps flipping, with laugh-out-loud switches of intensity, between the babble of an ordinary bourgeois function and the madly epic misadventures of the royal pair." Full Review

The Independent (UK)

“Directed with terrific zap and zestful precision...the show thwacks together a caricature-tendentious view of modern Mormon masculinity with a calculatedly outrageous Lion King-skewed view of Africa. It begins with preternatural comic efficiency...There is also something very winning about its spirit. True, it does not take any really daring risks...But songs, though not especially memorable, have bounce and bite and colour. And the spirit of the piece is tremendously attractive.” Full Review

The Independent (UK)

“You might hope that a fresh look at the material would confirm that they were much more than this. But though the familiar routines are pleasingly recreated in what amounts to a compilation...There is something crucially missing...And that’s any truly compelling reason why these characters have to burst into song...A bit more artistic adventure than is evinced...would be nice. The show is entertaining; it’s not a disgrace; I enjoyed it more than I thought I would.” Full Review

The Independent (UK)

for a previous production “An epic that aims to chart the entire hubristic history of American capitalism...All three performers are magnificent...Some may regret that ‘The Lehman Trilogy’ doesn’t give you the lowdown on the subprime mortgage industry or debt-swallowing shadow companies...But, in general, this is a powerful, thought-provoking play and Mendes has directed it with extraordinary elegance and penetration.” Full Review

Girls & Boys
West Village
Independent.IE

for a previous production "A piece that takes us on an extraordinary journey from clubby laughter to the bleak arctic wastes that lie on the other side of terrible tragedy. The show is jolly, then it punches you in the gut and it sends out a feminist message of shocking power. Mulligan’s performance retains a moving openness through all these difficult changes of tone...A remarkable return for Mulligan." Full Review

The Independent (UK)

“The saga of the American War of Independence and a look at the teething problems of a new nation are presented in the shape of a bona fide game-changer of a musical...A piece that is obviously a magnificent achievement. Miranda’s synthesis of the historical material is phenomenal, as is his supple control of the diverse musical idioms.” Full Review

The Independent (UK)

for a previous production "A brilliantly bracing new version of ‘The Tempest’…There’s a quirky earthiness, comic grit, and fiercely choreographed punch in this splendid diverse cast which has no weak link…The production is full of delights – especially Jade Anouka’s streetwise, red-wedged Ariel…Walters’ delivers a wonderfully intelligent performance…There have been many high-profile Shakespeare productions to mark 400 years since his death. Lloyd’s 'Tempest' is my personal favourite." Full Review

King Lear (BAM)
Brooklyn
The Independent (UK)

for a previous production "A production that unfolds with great clarity and confidence and boldness of gesture...Makes a strong case that Lear is a man more sinning than sinned against in the first movement of the play. Sher is magnificent at the fierce, rebarbative side of this monarch...But there’s a slight inflexibility in his gruff delivery of the verse that prevents it from sounding fully lived in...It’s an evening that moves and impresses but falls short of leaving you, as it should, shattered to the core." Full Review

The Independent (UK)

for a previous production "This hotly anticipated show turns out to be such a tonic that it's a pity you can't get a repeat prescription for it...Retunes our sense of the black hilarity and emotional depth of the central conceit...Matthew Warchus’s production is a miracle of stage-craft and technical coordination...Broadway star Andy Karl tackles the demanding central role with fantastic aplomb...It must be exhausting work but he makes the task of carrying the show look effortless." Full Review

The Independent (UK)

“There are some breathtaking special effects but the production has an old-fashioned feel as it attempts to combine Broadway razzle-dazzle, the vibe of a typical Bob Hope/Bing Crosby ‘Road’ movie and the stream of cheeky, self-referential humour that flows from Beguelin's script...Amidst the orgy of bling-flashing and scimitar-waving...it's the moments of mischief that charm rather than the attempts at the heartfelt.” Full Review

Escaped Alone
Brooklyn
The Independent (UK)

for a previous production “James Macdonald's superb cast beautifully negotiates the shifts between intimate small talk, moments of comically awkward failure to avoid the unmentionable and the bleakly intense passages of private reverie…Churchill's treatment of these women is infused with humor, warmth and precise observation…Churchill jumbles up our fears, fads and the lines we fake between man-made and natural calamity and pushes the result to a point of grotesque absurdity.” Full Review

Henry V (BAM)
Brooklyn
The Independent (UK)

for a previous production "Revived now with huge flair and bite in a production by Gregory Doran that is an impressive addition to his English histories project...Oliver Ford Davies's fine, consciously schoolmasterly Chorus doesn't sound as if he's talking through his hat with those clear allusions to the Globe. 'Work, WORK your thoughts and therein see a siege' he barks at us, with a knowing nudge. With a company as vivid as this, we don't have to work very hard." Full Review

Antigone (BAM)
Brooklyn
The Independent (UK)

for a previous production "On paper, this is a de luxe proposition. Sophocles' play is one of the greatest and most inextricably unresolvable of Greek tragedies...In practice, however, it turns out to be an undeniably impressive but strangely unmoving experience – deliberate to a fault, full of thought-provoking interpretive decisions, yet incapable of grabbing you by the gut." Full Review

Henry IV
Brooklyn
The Independent (UK)

for a previous production "Opponents of all-female casts or doubters who feel that the great classical male roles should kept immune from women will have their work cut out maintaining such a position of entrenched scepticism after this fresh, bracingly persuasive staging of an abridged 'Henry IV...' There is definite charge given to the proceedings." Full Review

The Independent (UK)

for a previous production "There's not one iota of sensationalism in this profoundly searching duologue about guilt and forgiveness expertly adapted by Nicholas Wright from the penetrating book of the same name...Raising complex, painful questions about responsibility and reconciliation, this 80-minute piece is unmissable." Full Review

The Independent (UK)

for a previous production "The Belgian director Ivo van Hove has taken a drastically non-naturalistic approach to Arthur Miller's 1955 drama, set in Brooklyn's Italian-American neighbourhood, and the stripped-back intensity of focus is emotionally devastating...By the end, the audience is shaken by an overwhelming sense of catharsis. Unforgettable." Full Review

The Independent (UK)

for a previous production "One hesitates to use the phrase 'a marriage made in heaven' in the vicinity of Henry VIII but that would be a fair way of describing this brilliant union between the RSC and Hilary Mantel...The marathon began at 1pm and, after a dinner break, concluded at 10pm. But such is the dramatic skill of the adaptation and the unflagging power and fascination of the fleet, incisively acted production that, if the final instalment of the trilogy had been turned into a play, I would gladly have stayed ... Full Review

Richard II (BAM)
Brooklyn
The Independent (UK)

for a previous production "David Tennant and Gregory Doran join forces again for this lucid and gripping account of Richard II...Tennant–in splendid form here–trains his talents on the most self-absorbed and inward-looking of the Bard’s monarchs...Tennant vividly exudes the bored irritability that erupts in tyrannical caprice...There isn’t a weak link in the cast...Another palpable hit for the Tennant/Doran collaboration." Full Review

My Perfect Mind
Midtown E
The Independent (UK)

for a previous production "It's a gently hilarious, intermittently (and understatedly) haunting double-act piece which plays sometimes daft, sometimes pointed variations on the Lear/Fool dynamic and is superbly directed...Through the luvvie-guying laughter, there is the always the chance of some situation arising that will crystallise a slightly disconcerting connection with Shakespeare's tragedy and balance the exquisite lightness of the show with a sudden intimation of depth." Full Review