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 (66)
The Independent (UK)

Pinnock’s play maintains that the chief value of art lies in its capacity to bear witness. It is brought to life ... in a production of huge resourcefulness and chutzpah by Miranda Cromwell. Full Review

Leopoldstadt
Covent Garden
The Independent (UK)

Tom Stoppard’s shiveringly sensual journey through the terrible 20th century is a masterpiece. Full Review

The Independent (UK)

...Ella Hickson’s clever, funny and indignant new play, takes a haunting look at the predicament of Elizabeth I... shifts between grimly gleeful anachronism and historical empathy.' Full Review

Dear Evan Hansen
Covent Garden
The Independent (UK)

Sam Tutty gives a star-making performance in a story of grief, deception and the conscienceless juggernaut of the internet. Full Review

Glass. Kill. Bluebeard.
Sloane Square
The Independent (UK)

Caryl Churchill pushes boundaries. Your wits need to hurry to keep up with the audacious, haunting and often horribly funny games the veteran dramatist is playing in Glass. Kill. Bluebeard. Imp.' Full Review

The Independent (UK)

A note-perfect Jenna Russell gives a genius performance...Jason Robert Brown’s musical take on this beloved story is beautifully orchestrated and occasionally sublime.' Full Review

Peter Gynt
Lambeth
The Independent (UK)

A mighty achievement – but with strings attached...in general, this show – sharply etched across the board by populous crack cast – is a mighty achievement and one of which the NT can be justly proud.' Full Review

The Independent (UK)

...Nicholas Hytner’s gloriously funny, immersive take on A Midsummer Night’s Dream at the Bridge Theatre...David Moorst excels as the obstreperous hobgoblin Puck.' Full Review

Top Girls
Lambeth
The Independent (UK)

A work of genius that will never date... Directed by Lyndsey Turner, Top Girls has never seemed more hilarious, or wrenching.' Full Review

Betrayal
Westminster
The Independent (UK)

Crowning his superlative six-month Pinter season at this address, Jamie Lloyd directs an exceptionally thoughtful and searching revival of this time-reverse play. 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)

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. 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)

Matthew Warchus’s magnificent staging provides everything you might want from a theatrical adaptation of Dickens’s timeless morality tale. Full Review

The Exorcist
Camden Town
The Independent (UK)

But this stage version of Blatty’s yarn insists, with unforgettable effectiveness, that the most destructive sin to which you can succumb is despair. Full Review

The Independent (UK)

Anne-Marie Duff and Kenneth Cranham star in this two-hander by Simon Stephens in the first production of director Marianne Elliott's new theatre company...The two actors have superb chemistry. Full Review

The Independent (UK)

for a previous production "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

The Woman In White
Charing Cross
The Independent (UK)

Lloyd Webber's music and Trevor Nunn's assured and fluent production, with its dizzying whirl of video projections, impart an authentic spookiness to the encounter. 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

Blithe Spirit
Charing Cross
The Independent (UK)

As the psychic Madame Arcati in this marvellous production, Saunders channels AbFab’s Edina – only with more intrepidity. Full Review

Endgame
Lambeth
The Independent (UK)

Daniel Radcliffe’s sarky slapstick is brilliant in Endgame, a stark vision of a post-apocalyptic world...Richard Jones’s revival of Samuel Beckett’s play is inspired.' Full Review

Cyrano de Bergerac
Westminster
The Independent (UK)

This new season looks set for the kind of success Lloyd and company had last year with their marvellous Pinter retrospective. Bravo. Full Review

Vassa
Camden Town
The Independent (UK)

Siobhan Redmond shines in this disgracefully funny adaptation of Maxim Gorky’s 1910 play...The whole evening yammers with talent. Full Review

Big The Musical
Fitzrovia
The Independent (UK)

Kimberley Walsh is a knockout in zestful production with an uncynical spirit...It helps a lot that the leads – Jay McGuiness...and Kimberley Walsh...have a lovely natural rapport as performers. Full Review

The Night of the Iguana
Covent Garden
The Independent (UK)

A brave, magnificently modulated revival...Starring Clive Owen and directed by James Macdonald, this is a brilliant reminder of what an extraordinary feat Tennessee Williams pulled off here Full Review

the end of history...
Sloane Square
The Independent (UK)

Lesley Sharp is painfully funny in this clever, intriguing production...Jack Thorne and John Tiffany's new play is both satire and celebration.' Full Review

The Starry Messenger
Covent Garden
The Independent (UK)

Matthew Broderick excels in Kenneth Lonergan's play...The actors play characters that range from laugh-out-loud funny to twisty, wrong-footed ambivalence Full Review

Downstate
Lambeth
The Independent (UK)

Bruce Norris’s studiedly provocative play... The acting is excellent throughout...I admired, rather than liked the play.' Full Review

Waitress (London)
Charing Cross
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

Only Fools and Horses
Westminster
The Independent (UK)

The crucial thing missing from this funny musical is any truly compelling reason why Del Boy and Rodney have to burst into song. Full Review

The Independent (UK)

Simon Godwin's production of the Shakespearean tragedy proves to be an astute and moving work. Full Review

The Independent (UK)

for a previous production Katori Hall's book is too brisk...Even folk who are inclined to be sniffy about jukebox musicals will be overwhelmed by this one. It has everything going for it. 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 Grinning Man
Westminster
The Independent (UK)

In Morris’s production, it all unfolds like a fevered, slightly bonkers but luridly compelling fairy story...The score has an organ-grinding, carnival quality. Full Review

The Independent (UK)

Dan Gillespie Sells, frontman of the The Feeling, has written an immensely attractive score – bobbing along with a melodic pop bounce and catchy rhythmic insistence and rising to the emotional occasion with some eloquently poignant power ballads. Full Review

Young Frankenstein
Charing Cross
The Independent (UK)

Mel Brooks’s musical make-over of his classic 1974 horror movie spoof is deliriously silly and shameless from start to finish. That’s its appeal. It has no aspirations other than to unleash laughter. On that front, the show is a signal success. Full Review

Coming Clean
Westminster
The Independent (UK)

This bittersweet 1980s comedy offers a frank, moving portrait of gay relationships just before the Aids crisis. 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

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