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Harry Potter and the Deathly Hallows: Part II
Harry Potter and the Deathly Hallows: Part I
Womb
 Role: Nymphadora Tonks
Status: Post-Production
Director: David Yates
Released: 15 July 2009
On the web: IMDB
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CountryLife:
I'm sure Potter fans will be keen to see how newcomer Evanna Lynch and Natalia Tena shape up as popular characters Luna Lovegood and Tonks respectively. Natalia has little to do but set up her presence for next time round, and we get only the slightest inkling of Tonk's abilities.
Comingsoon:
A couple of the new cast members also stand out. Evanna Lynch is appropriately ditzy and odd as Luna Lovegood. Natalia Tena is also probably the coolest wizard as Nymphadora Tonks. She's tough and funny and a great contrast to the rest of the Order of the Phoenix. But the real standout addition is Imelda Staunton
Fort Worth Star:
Two lively new good guys — the grrl-power witch Nymphadora Tonks (Natalia Tena) and the wizard Kingsley Shacklebolt (George Harris), one of the few faces of color in the series — are introduced in a rush and then even more quickly rushed off the screen.
The Boston Globe:
...you feel the loss, since Helena Bonham Carter plays her with deliciously scary Goth relish. (The same goes for Natalia Tena's sexy, shape-shifting Nymphadora Tonks ; she's here and gone.)
Time:
Best New Face: Natalia Tena -
It is a critic's duty to see out young talent, especially when they give new life to old culture. It is a critic's privilege to fall in love, though only for an evening, with a performer who comes on stage and displays beauty, craft, personality, dazzle. So I gave my heart to Natalia Tena, the teenage star of Gone to Earth, produced by the Shared Experience company in London last spring. Her character, Hazel Woodus, is the kind of sprite, both earthly and otherworldly, that Audrey Hepburn incarnated in Ondine on Broadway and Green Mansions. I wouldn't burden any young actress with comparisons to the divine Audrey, so I'll just say I was mesmerized by Tena's beauty, her intensity, her gift for finding both the feral and the ethereal in Hazel's doomed sanctity. And less this sound like too much of a mash note, I'll add that my wife Mary thought Tena was terrific as well.
Time:
...and Natalia Tena. To see her in “Gone to Earth” at the Lyric Hammersmith, you’d need a two-zone underground ticket and a time machine, but it would be worth the effort to see Tena (who was the schoolgirl Hugh Grant’s young charge had a crush on in “About a Boy”) in all her dark beauty. In Helen Edmunson’s adaptation of the Mary Webb novel, Tena is Hazel Woodus, the sylvan sprite with an otherworldly appeal. She is both a divine primitive, Lilith in Eden, and a beacon of honest innocence; the novel says “she was of a race that will come in the far future.” Hazel attracts the love, lust and other corrosive emotions of two men: a vicar who wants to save her and a desolute lord who wants to ravish her and, perhaps, save himself.
The Observor:
The ensemble is top-notch. Natalia Tena makes Hazel's
innocence fascinating rather than merely irritating.
The Times:
Into this flesh-and-steel trap, like a distressed animal, bursts Natalia Tenas bright-eyed, limber-limbed, lusty-voiced Hazel, locked in a desperate struggle with her father.
The Guardian:
If Natalia Tena never acted again, she would already
have a career to be proud of. Tena is 19 and has just
left school. She had a small part in About a Boy, but this
appearance in Gone to Earth is her professional stage
debut. And it's phenomenal. Fierce, graceful, apparently
guileless.
Fincho:
Natalia Tena who plays Fevvers the 'Cockney Venus' is just I imagined her to be. Both vulgar and alluring in equal doses.
Her trapeze routines are well choreographed and her ability to sing in both an extremely quiet and childlike voice (as at the start of the play) and in a loud cockney slur highlights that Fevvers is a complex character who knows when to turn on the charm and when to act innocently.
Tena is extremely convincing in this role and her costumes are certainly well thought out and daring. The fact that she is topless by the end of the play does not actually seem to be out of place after the wild carnival that unfurls once the characters arrive at the circus in St Petersburg.
Lyric Hammersmith:
The only false note is Fevvers herself. Natalie Tena lacks the epic charisma required of Carter's worldly and statuesque creation - but then, to be fair, it is something of an impossible role and, while she occasionally comes across as a petulant teenager, she has a certain grace and presence. It's a part you feel she could grow in to.
The Independent:
She is Fevvers, the Cockney Venus, a bird-woman who claims to have been hatched from an egg like Helen of Troy. In Carter's novel, she's a hefty, middle-aged 6ft 2in phenomenon. In this shrewdly filleted and reshaped adaptation by the director Emma Rice and Tom Morris, she is played by the youthful, slender, medium-sized Natalia Tena. It's arguable that this performer, with her pert, studded breasts and very modern streaked hair, is too straightforwardly sexy for such a smoke-and-mirrors character, but she's fiery and fierce, earthy and airy, a tempest and a tease, so you don't lose too much of the ambiguity that surrounds this circus aerialiste whose wings betoken both liability (she has to earn her living as a prize freak) and liberty (she's a portent of the New Woman).
