Rose - Maureen Lipman

Rose Reviews starring Maureen Lipman at the Park Theatre & Hope Theatre

Critics have reviewed Dame Maureen Lipman starring in Martin Sherman’s play Rose at the Park Theatre in London.

Martin Sherman’s Rose originally premiered at the National Theatre in 1999, where it was nominated for an Olivier for Best New Play; and this production starring Maureen Lipman had its premiere online and on Sky Arts during the Covid lockdowns, but is now, finally, brought to the stage.

Maureen Lipman is Rose – a Jewish woman shaped by her history. She offers an intimate and, at times, humorous account of the 20th century, and its complicated heritage. This thought-provoking production acts as a caution, highlighting the importance of unity in the face of adversity, and the need to recognise and empathise with the suffering of others.

The director is Scott Le Crass, Set & Costume Designer is David Shields, Lighting Designer is Jane Lalljee, Sound Designer & Composer is Julian Starr, Producer & General Manager is Guy Chapman, Producer & General Manager is Thomas Hopkins, and Associate General Manager is Clive Chenery.

Rose runs at the Park Theatre until 15 October 2022.

More reviews to follow.

Book tickets to Rose at the Park Theatre.


Rose reviews

The Guardian
★★★

"Maureen Lipman is magnetic in journey through Jewish 20th century"

"A mourning woman looks back on her life in Martin Sherman’s ethereal yet uneven drama about history, heritage and memory"

"Maureen Lipman starred in an online production early in the pandemic – now she gets to spellbind in person. Often goofily physical, here she is rivetingly contained, all restraint and grace notes (though the colourful, overenthusiastic lighting design can make her seem trapped in a lava lamp). She’ll crack a joke then watch us quizzically; chasms open behind the twinkle. Tears fall unbidden, barely acknowledged: Rose’s turn is an unsentimental one."

"Scott Le Crass’s production suggests Jewish identity as an act of memory, even when recollection is the last thing you can bear. Rose, who always feels like a displaced person, makes the century real by remembering it – she’s her own restless dybbuk."

David Jays, The Guardian
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Attitude
★★★★★

"Maureen Lipman is mesmerising as Jewish Holocaust survivor'"

"Hers is a performance for which phrases like ‘powerhouse’ and ‘tour de force’ were invented"

"Sherman writes with wit and observation in a play that’s about a life lived to the full and experiences that are at once deeply personal to the woman alone on that stage yet universal for everyone in the audience."

"Lipman is a warmer actress than Dukakis and she gives a beautifully modulated performance that feels more like a sometimes cosy and oftentimes deeply distressing chat with a fascinating character than an over-rehearsed monologue from a seasoned professional."

Simon Button, Attitude
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Theatre Cat
★★★★★

"A Century survived"

"The strength of it, captured perfectly by Lipman’s nuanced changes from fondness to contempt, horror to amusement, lies in the detailed individuality of all the characters she depicts."

"It is an unforgettable evening: profound darkness of evil streaked with unconquerable human light, even humour. What could be grimly unbearable, is made bearable: simply because people bore it, and we need to remember. Speaking for many voices, Lipman holds that memory with faith."

Libby Purves, Theatre Cat
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Islington Gazette
★★★★

"A devastating tour de force by Maureen Lipman"

"Martin Sherman's story of a Jewish woman sitting Shiva on her 80th birthday is one of the most moving and extraordinary theatrical experiences you will see this year."

"Lipman's performance is astonishing as she delivers Sherman’s monologue with a seemingly casual but authentic familiarity in a warm American Jewish accent."

David Winskill, Islington Gazette
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What's On Stage
★★★★★

"Martin Sherman's hit play is revived"

"Lipman is astounding: her command of an audience, her ability to make the text sound as though she's improvising on the spot, her lightning quick changes from cosy to cruel, chatty to profound, her timing, her authenticity, her technical precision… it all adds up to a performance of unassailable greatness."

Alun Hood, What's On Stage
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The Spectator

"A masterpiece"

" One hesitates to call a work a ‘masterpiece’ but this production aims for and fulfils that ambition."

Lloyd Evans, The Spectator
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Daily Express
★★★★

"Clever, entertaining, informative and enlightening"

"Another week, another one-person show. Martin Sherman's play about the life of a Jewish woman across the 20th century premiered in 1999."

"Maureen Lipman inhabits the title role in this superb revival..."

"The perfect interpreter for this absorbing monologue, Lipman is a natural storyteller as well as a gifted actress; her comic timing is effortlessly precise, the recollections of atrocities and tragedy delivered with a wry banality that makes them hit home even harder."

Neil Norman, Daily Express
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The Stage
★★★★

"Maureen Lipman commands attention"

"Panoramic rendering of a Jewish life story with a commanding performance by Maureen Lipman"

"One-person shows tend to be about an hour with no interval; Rose clocks in at more than two hours. The physical experience of watching online theatre can be draining, yet this production, filmed in an empty Hope Mill Theatre and tastefully directed by Scott Le Crass, places full focus on Lipman, who commands attention throughout."

Julia Rank, The Stage
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The Telegraph
★★★

"Maureen Lipman brings charm and pluck to this one-woman odyssey"

"The much-loved actress is outstanding in Martin Sherman’s ambitious-but-flawed monologue about a survivor of antisemitic persecution"

"There’s an issue, invariably, with the two-hour length – without the enveloping presence of an auditorium, your mind is likely to wander as Rose embarks on another verbose digression. That amused twinkle Lipman brings to almost everything she does can’t undermine the seriousness of what she’s saying at pivotal moments – and her eyes fill as often with tears as with far-away looks. But our prior knowledge of the actress’s own comic good sense makes the lapses in Sherman’s judgement more striking."

Dominic Cavendish, The Telegraph
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👤 📅20 September 2022
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