National Theatre at Home continues its home programming with both versions of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller and Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo, plus there’s a National Theatre at Home Quiz
Following on from the success of its opening set of transmissions – One Man, Two Guvnors was viewed over 2.5 million times in the week it was available – the National Theatre has announced the next two productions it will be airing as part of National Theatre at Home. 2011’s Frankenstein with Benedict Cumberbatch and Jonny Lee Miller sharing its two main roles and 2018’s Antony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo.
Both productions will be free to stream, premiering at 7.00PM BST and then available on demand for seven days. Further productions to be streamed as part of National Theatre at Home will be announced soon.
Today also sees the launch of the National Theatre at Home Quiz, to be played from home featuring familiar faces from the world of stage and screen as the quizmasters. Each quiz will include rounds of five questions on a wide variety of topics.
On the final Monday of each month people will be able join the virtual quiz directly from their homes via the NT’s YouTube channel and Facebook page live at 7pm. The first quiz will be on Monday 27 April with quizmasters Dame Helen Mirren, Sir Lenny Henry, Lesley Manville, and Sir Ian McKellen asking questions on topics including history, sport, nature, and of course, the National Theatre (bagsy team Manville).
Antony and Cleopatra is a lengthy evening at the National Theatre but one which pays rich rewards, particularly in Sophie Okonedo’s majestic performance
“Give me my robe, put on my crown; I have Immortal longings in me”
Or Cleopatra and Antony as it turns out. Ralph Fiennes is plenty good in Simon Godwin’s modern-dress production of Antony and Cleopatra for the National Theatre, but Sophie Okonedo is sit-up, shut-up, stand-up amazing as she holds the ancient world and the entirety of the Olivier Theatre in her hand (and then wipes it clean with a look of disdain, as she wittily does after a messenger slobbers kisses all over it at one point). It is often acclaimed as one of Shakespeare’s greatest roles for women but an actor still has to do great things with it and here, Okonedo more than delivers.
In the opulent cerulean blue of Hildegard Bechtler’s design with its sunken pools and luxury, and in the magnificent array of statuesque costumes by Evie Gurney (such capes!!), her Cleopatra is a figure of immense poise. Even in her most capricious moments, there’s a knowing, performative quality to her that demonstrates just how much she’s controlling the narrative here, even when left alone by her Antony. And when together, there’s a palpable, mature connection between them – made all the more tragic by a prologue that presents a tableau of the final scene – their destinies entwining even as they’re increasingly doomed. Continue reading “Review: Antony and Cleopatra, National Theatre”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
“The Queen? Which Queen?”
Robert Icke’s Mary Stuart is a towering success, an extraordinary piece of theatre that surely ranks amongst the year’s best, no mean feat considering his Oresteia, also for the Almeida, did the same thing last. There’s added spice here too since leading players Lia Williams and Juliet Stevenson do not know which of Queen Elizabeth I and Mary Queen of Scots they will be playing until the beginning of the performance when it is decided with a coin toss. And so too, dear reader, must you decide…
“It’s all in the execution”
Aside from an excuse to use one of the greatest publicity shot ever created in our lifetimes, courtesy of Miles Aldridge, this is actually a public service announcement to let you know that more tickets for Mary Stuart will go on sale at 10am today (Monday 5th December). And a little bird can tell you that since the show is pretty much in the round, the new seats that they’ve added in the Stalls (Section C) are really rather good as you’re very close to the action. (Sightlines are affected occasionally esp in final scene so I’d opt for 3-4 or 31-32 if you can). That little bird might also tell you to book now for the love of God, tickets will be like gold dust!
Running time: 3 hours 20 minutes (with interval) (subject to change)
Booking until 21st January
“We are both queens”
There’s much to enjoy about this Mary Stuart but what is particularly pleasing to see is Robert Icke’s directorial instincts developing and maturing. The production opens with Tim Reid’s live video, capturing the opening gambit, but cannily isn’t used again until a key counterbalancing action later on; likewise original compositions from Laura Marling are quite the coup but again are used sparingly, wisely, at two crucial and contrasting moments. The timestamping of each act over a more or less 24 hour period measures out a steady but always forceful sense of pace – Icke has always been a strikingly effective director but the less is more ethos espoused here is singularly superb.
So too with the political overtones of his adaptation, everywhere you look contemporary resonances can be found but they’re never overplayed. The 52% are hauled over the coals when “a majority does not prove a thing is right”; the dangers of riding roughshod, Trump-like, over the tenets of “international laws” are explored; the doublespeak (or rather non-speak) of ‘Brexit means Brexit’ finds a chilling partner in Elizabeth’s determination to shift the responsibility of the death warrant onto her man Davison, surely no accident that his modern-day equivalent is called David Davis… Continue reading “Mary Stuart – heads you win”
“You seem to know our miseries alright”
A coin toss is naturally a game of chance and so the odds of getting the same side twice in a row are just as high as getting heads and then tails (or maybe not, but I’m not researching probability theory on Wikipedia to pretend that I know). What I’m trying to say is that I went back a week later and I got Williams as Elizabeth and Stevenson as Mary again and so my plans of having two different reviews went kaput!
Here’s the review I did write.
“You believe in laws but there are only lechers”
For some reason or other, I stopped watching the second series of Ripper Street midway through and it’s taken me until now to finally finish it. It wasn’t that I didn’t enjoy it, it’s more likely to do with running out of time to watch it on the iPlayer or something but anyhoo, I’ve managed it now. My review of Series 1 (which I thoroughly appreciated) is over here and I have to say that that enjoyment has continued, even if I do have a few reservations about its female voices.
It’s a shame that in a crime procedural led by three men, two of the leading supporting female characters did not return for this second series. DI Reid’s wife and kind-of-mistress (Amanda Hale and Lucy Cohu) are both MIA, losing all the work done to establish them, and though Leanne Best is introduced as a local politician who can’t help but flirt with Reid (he’s played by Matthew Macfadyen after all), the overall weight of the series does thus feel a little unbalanced.
Continue reading “DVD Review: Ripper Street Series 2”
“…now begrimed and black as mine own face”
For all the excitement of Kenneth Branagh’s announcement of his year long residency at the Garrick, the programme was lacking a certain diversity. So it’s pleasing to see that the Tricycle Theatre’s production of Red Velvet has been slotted in for a month, featuring a barnstorming lead performance from Adrian Lester and a fascinating insight into a piece of sorely neglected theatrical history.
My four star review for Cheap Theatre Tickets can be found here.
“Art can’t be made into a spectacle; you can’t put it in a box”
There’s something quite remarkable about the boldness with which Blanche McIntyre has reinterpreted Chekhov’s perennial classic The Seagull for Headlong. Gone is the stuffy country house to be replaced by Laura Hopkins’ expressionistic, open space and the formality of the Russian’s words has been supplanted by John Donnelly’s fresh new version which refocuses the play’s centre away from melodrama to something sharper, funnier, more powerful even. This is an interpretation that genuinely makes the play feel new.
McIntyre introduces notes of meta-theatre to push home the exploration of the nature of art and artists that now sits at the heart of the play – the house lights come up as characters direct their soliloquies straight to the audience, the blank rear wall becomes the page of a notebook complete with significant changing scribbles, the stark simplicity of the set allowing for a deeper intellectual excavation of the issues of art and love and creativity and sex. And it is a compelling mixture, all pushing along the vital narrative and driving these familiar characters to their predestined fates with a fresh new verve. Continue reading “Review: The Seagull, Headlong at Watford Palace”