Theatre Reviews

“A hard-hitting but compelling evening.” BLUEPRINT MEDEA, Robert Jackman, Spectator Life 2019

“The play, written and directed by Julia Pascal – and enjoying its world premiere at the Finborough Theatre – is powerful fare.” BLUEPRINT MEDEA, Jeff Prestridge, Close-Up Culture   2019

“[Blueprint Medea] successfully spans vastly different worlds and cultural expectations all within the tiny intimate space that is the stage of the Finborough Theatre. Blueprint Medea is a multifaceted and complex drama, and is capable of making a connection with audiences wherever they may be.” BLUEPRINT MEDEA, Dominica Plummer, The Spy in the Stalls   2019

“[Blueprint Medea] provides a powerful and hard-hitting female tale inspired by direct interviews with Kurdish freedom fighters, perfect for the intimacy and simplicity of fringe theatre.”BLUEPRINT MEDEA, Francis Nash, The Upcoming  2019

“In Julia Pascal’s modern reconception of the ancient Greek tragedy, she is reborn as a former fighter for the Kurdistan Workers’ Party (PKK)…It is an inspired transposition, and the themes of exile and female agency resonate in the modern day.” BLUEPRINT MEDEA, Arifa Akbar, The Guardian 2019

“An engaging and dynamic production, admirable for its risk-taking and originality of vision.”  BLUEPRINT MEDEA, Arifa Akbar, The Guardian 2019

“A modern adaptation of Euripides’s devastating Greek tragedy, in which a scorned wife exacts bloody and heartbreaking revenge. Julia Pascal’s new version draws heavily on interviews with Kurds living in the UK and explores issues around immigration, cultural identity and female autonomy” BLUEPRINT MEDEA, Arifa Akbar, The Guardian 2019

“The script becomes beautifully laced with Lorcaesque poetry.” BLUEPRINT MEDEA, Dominica Plummer, The Spy in the Stalls   2019

“To have such a profound effect highlights the power and importance of fringe theatre and writers like Pascal providing a voice for these voiceless females onstage.” BLUEPRINT MEDEA, Dominica Plummer, The Spy in the Stalls   2019

“The undeniable richness and power of the storytelling and performances.”BLUEPRINT MEDEA, David Guest, The Reviews Hub 2019

“Pascal’s writing style skilfully combines the demotic with the poetic.” BLUEPRINT MEDEA, Judi Herman, Jewish Renaissance 2019

 “Strong individual performances and moments of beautiful storytelling.”BLUEPRINT MEDEA, Emma Lamond, London Pub Theatres 2019

The world premiere
★★★★ BLUEPRINT MEDEA, Close-Up Culture 2019
★★★★ BLUEPRINT MEDEA, The Upcoming 2019
★★★★ BLUEPRINT MEDEA, Jewish Renaissance 2019

NT bookstore 2018

“Pascal has long interrogated Jewish attitudes and experiences without ever denigrating them. Here, too, she is even-handed .Israelis and Palestinians – all are subjected to the unblinking gaze of Pascal’s writing.” https://www.timeshighereducation.com/culture/crossing-jerusalem-written-and-directed-julia-pascal CROSSING JERUSALEM The Times Higher Education 13/8/15

“A crucial piece… ‘Timeless’ is a word that is tossed around extremely frequently these days, but it is certainly the most appropriate word to describe Julia Pascal’s Crossing Jerusalem.” ★ ★ ★ ★ http://www.thereviewshub.com/crossing-jerusalem-park-theatre-london
CROSSING JERUSALEM The Arts Desk  7/8/15

Very Deep… A powerful account of a complex issue…. While the title suggests dynamic action, the small stage space and extremely personal scenes make for a claustrophobic, intense atmosphere, in which the dangers the characters face seem all too real. This climaxes with the disintegration of Varda Kauffman-Goldstein, wonderfully played by Trudy Weiss, whose exhaustion, even before her son, Gideon, is killed, represents not just a woman, or even a family, at breaking point, but an entire country.” http://www.thepublicreviews.com/crossing-jerusalem-park-theatre-london/ CROSSING JERUSALEM The Review Hub 07/08/2015

“Julia Pascal’s play Crossing Jerusalem at Park theatre London about Arab/Israel conflict: intelligent, moving, true” CROSSING JERUSALEM Melanie Phillips @MelanieLatest

http://www.eastendreview.co.uk/2015/08/03/crossing-jerusalem-julia-pascal-park-theatre CROSSING JERUSALEM East End  Review 03/08/2015

“Julia Pascal’s play Crossing Jerusalem at Park theatre London about Arab/Israel conflict: intelligent, moving, true” https://www.facebook.com/MelanieLatest/posts/930261500349338 CROSSING JERUSALEM Melanie Phillips – Writer, columnist for TheTimes, London.

http://www.themetropolist.com/arts-theatre/reviews-arts-theatre/review-walking-tightrope-theatre-delicatessen/ OLD NEWLAND, Metropolist 28/01/2015

“Challenging, erudite and above all, captivating” *****  http://www.broadwaybaby.com/shows/st-joan/700167 ST JOAN, Broadway Baby 13/08/2014  

“Barely 90 minutes in length, the play exerts a powerful grip using the simplest of means” ST JOAN, The Stage  

http://www.timeout.com/london/theatre/nineveh NINEVEH Time Out 19/04/2014

http://www.thestage.co.uk/reviews/review.php/33879/honeypot HONEYPOT  The Stage 14/10/2014

http://www.nytimes.com/2010/08/23/theater/reviews/23dybbuk.html?_r=0 THE DYBBUK, New York Times 23/08/2010

http://quarmby.biz/reviews/Big%20Q%20Review%20Merch.htm BIG Q REVIEWS, The Merchant of Venice (The Shylock Play) 11/9/2007

“Fair play: should gender equality in theatre be mandatory?” http://www.theguardian.com/stage/theatreblog/2011/oct/06/gender-equality-theatre-julia-pascal EQUALITY FOR WOMEN Lyn Gardner, The Guardian 6/10/2011

“Pascal has long interrogated Jewish attitudes and experiences without ever denigrating them. Here, too, she is even-handed .Israelis and Palestinians – all are subjected to the unblinking gaze of Pascal’s writing.” http://www.cix.co.uk/~shutters/reviews/03017.htm CROSSING JERUSALEM The Financial Times 19/3/03

“…one of the virtues of this engrossing piece is that it reminds us that the Israeli-Palestinian conflict is both shadowed by the decisions of the past and played out in a state roughly the size of Wales.Pascal very successfully breaks through the stereotypical idea of a homogenised Israeli society. By confining the action to a single day, Pascal captures the pressure-cooker intensity of Israeli life and shows how present actions are shaped by past guilts.” http://www.theguardian.com/stage/2003/mar/24/theatre.artsfeatures CROSSING JERUSALEM The Guardian 24/03/03

“Julia Pascal’s seething and passionate new play comes as a salutary reminder that, just because the anxious eyes of the world are turned to Iraq at the moment, it doesn’t mean that other global troublespots have miraculously gone away.” http://www.standard.co.uk/goingout/theatre/family-at-war-7429634.html CROSSING JERUSALEM Evening Standard 10/4/03

“Julia Pascal’s compelling analysis of the Israeli/Palestinian conflict crackles with tension. This is the most ambitious attempt to illuminate the world’s most intractable problem since David Hare’s Via Dolorosa.” CROSSING JERUSALEM The Jewish Chronicle 2003

“A tightly coiled spring of tension encircles the dialogue. This play soars in its portrait of familial dissension. Pascal is excellent at getting across the bickering closeness. This is a brave and interesting play sowth some moments of real comedy and despair.” CROSSING JERUSALEM Camden New Journal 2003

“Set over 24 hours in Jerusalem the play shows people split down emotional as well as territorial lines” CROSSING JERUSALEM The Times 2003

“This is the most ambitious attempt to illuminate the world’s most intractable problem since David Hare’s ‘Via Dolorosa’. Compelling.” CROSSING JERUSALEM, The Jewish Chronicle 2002

This modern prose play is so organized in time and space that it acquires the kind of austere beauty and rhetorical tension we associate with the tragedies of Racine” A DEAD WOMAN ON HOLIDAY, The Financial Times

http://www.independent.co.uk/arts-entertainment/theatre-dance/features/honeypot-the-startling-story-of-the-killer-in-heels-2358004.html?action=Email HONEYPOT, The Independent 2011

http://quarmby.biz/reviews/Big%20Q%20Review%20Merch.htm THE MERCHANT OF VENICE (The Shylock Play), Big Q Review 2007

“Pascal’s play is a tense and stirring piece of theatre, acted with fierce intensity by an international cast” THERESA, The Times 2003 “… an excellent example of how skilled players can convey a wide range of character and emotion with only a few props and a shift of expression and accent” THERESA, Jewish Chronicle 2003

“Truly experimental and truly European, Theresa plays with form on every level, fusing dance with theatre, music with text and juggling fragment of French, German and Polish within a predominantly English script… arresting” THERESA, City Limits 2003

“It reveals a genuine imaginative flair…” DYBBUK, The Guardian

“…as spine-tingling as anything you’ll see in the theatre this year” DYBBUK, The Independent

“Ms Pascal’s production is a piece of total theatre” DYBBUK, Evening Standard

“… one of the most remarkable pieces of theatre I have ever seen” DYBBUK, Plays and Players

“this play is an effecting and eclectic treat” THE YIDDISH QUEEN LEAR, Evening Standard

“a fascinating and enjoyable evening” THE YIDDISH QUEEN LEAR, The Guardian

“This is a raw play. . . prepare to leave exhausted and angry” THE YIDDISH QUEEN LEAR, TNT Magazine

The company perform with immense verve and minimal props, used with dazzling versatility. . .this show is physical theatre with a strong moral and political charge” WOMAN IN THE MOON, The Stage