The National Theatre has announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, the Young Vic and Joshua Andrews’ production of Tennessee Williams’ timeless masterpiece A Streetcar Named Desire featuring Gillian Anderson as Blanche DuBois, Ben Foster as Stanley and Vanessa Kirby as Stella, the NT’s recent production of Dylan Thomas’ Under Milk Wood with Michael Sheen and Nadia Fall’s verbatim play Home that explores homelessness in the UK featuring Michaela Coel. New productions are added each month and since launching in December 2020, there are now 31 productions available to stream on the platform.
It is also announced today some of the productions that audiences can expect to see on the platform in the coming months. Those productions are confirmed to include Antony & Cleopatra with Ralph Fiennes and Sophie Okonedo in the title roles; Hedda Gabler with Ruth Wilson in the title role; Caryl Churchill’s Top Girls in the Lyttelton theatre from 2019; Sally Cookson’s 2017 production of Peter Pan; Yaël Farber’s Salomé and James Graham’s political drama This House, alongside current NT productions; Kae Tempest’s Paradise with Lesley Sharp and Winsome Pinnock’s Rockets and Blue Lights. Ian McKellen on Stage will also join the platform this autumn for audiences outside the UK and Ireland. It is currently available in the UK and Ireland for Amazon Prime subscribers. Continue reading “News: National Theatre adds new productions to streaming platform NT at Home”
The Jonathan Creek specials from 2009–2013 undo much of the damage from Series 4, with Sheridan Smith largely to thank for that
“I’ve got a very important presentation to Weetabix in five minutes”
After the horror show that was the fourth series, Jonathan Creek disappeared from our TV screens for five years and for the subsequent five, returned only intermittently for three feature-length specials from 2009–2013. And I think the break did everyone a world of good as these episodes rival some of the show’s best in recapturing the sense of investigative fun that lay at its heart.
Chief in this is the casting of Sheridan Smith as wise-cracking paranormal investigator Joey Ross. Their buddy relationship is well drawn, wisely kept clear of any romantic entanglement and yet still deeply affectionate at its heart. Complex, multi-faceted mysteries are allowed to unfold more effectively in the longer format, although Renwick can’t help himself with women as porn stars and clod-hopping trans jokes. For the most part, everything just hangs together better – until Jonathan get a wife that is…More of that in Series 5. Continue reading “TV Review: Jonathan Creek Specials (2009–2013)”
Sean Bean does Sean Bean in the slight oddity that is Series 1 of The Frankenstein Chronicles, good work too from Vanessa Kirby
“This will be my penance”
Just a quickie for this, as it was one of those shows I’ve been meaning to watch for ages due to the list of actors in its first series (rather than its subject). Elliot Cowan, Anna Maxwell Martin, Ryan Sampson, Ed Stoppard, Sam West…a supporting company right out of Clowns central casting.
Created and mostly written by Benjamin Ross and Barry Langford, The Frankenstein Chronicles plays out as an “inspired by” Mary Shelley’s novel rather than a direct adaptation. It is essentially a 19th century police procedural but given we open with the discovery of a stitched-together body and its dramatis personae include William Blake and Shelley herself, it is clear what kind of universe we’re operating in. Continue reading “TV Review: The Frankenstein Chronicles, Series 1”
The neglect of Stanley Tucci aside, The Children Act does a decent job of bringing Ian McEwan’s novel to the screen, with Emma Thompson on fine form
“I think it’s my choice
‘I’m afraid the law doesn’t agree'”
The first half of The Children Act is astounding. Family court judge Fiona Maye is utterly devoted to her career, deciding carefully but firmly on the most delicate of ruilngs. But the case of Adam Henry gives her cause, a 17 year old cancer victim whose Jehovah’s Witnesses’ beliefs are leading him to refuse the blood transfusion that could save his life.
As Maye, Emma Thompson makes you feel every inch of the emotional stoicism she has developed in order to rise through the judicial ranks so. There’s admiration sure but also a touch of apprehension – the brittleness with which she interacts with her devoted clerk (Jason Watkins) and the casual callousness with which she takes her long-suffering husband (Stanley Tucci) for granted. Continue reading “Film Review: The Children Act (2017)”
The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
With major fluctuations in the force, Series 8 maintains a strong level for Spooks – you could argue it should have stopped here
“They think you’ve got Harry Pearce in the palm of you hand and you’re making moves”
Finally, after too many years of yoyo-ing between good series bad series, Spooks finally put together two strong instalments back to back. I think the shorter run (8 episodes) really does focus the writing which now goes all-in on the serial plot line running through the whole series, yet still finding time to blend in self-contained storylines here and there.
Big betrayals cut deep, harsh on a team barely recovered from Connie’s recent deception. Personnel changes rock the team equally hard, as Malcolm is (metaphorically) sacrificed to bring back Ruth, Jo is (literally) sacrificed for big business and Ros (understandably) goes in hard for Tobias Menzies. And Richard Armitage’s Lucas North gets his arse out – quality TV all round. Should Spooks have gone out all guns blazing here?
She’s back! There’s a measure of contrivance in Ruth’s return to the show, necessary to undo the finality of her previous departure and to extricate her from the cushy life in Cyprus which she’d established forself. So cheerio to handsome new partner (they weren’t married so it’s OK he got killed), sayonara to her step-child in all but name, and welcome back to sweet emotional lrepression with Harry. Continue reading “Lockdown TV Review: Spooks Series 8”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
Baron Fellowes of West Stafford stretches not a single muscle in pumping out more of the same in the tiresomely dull Downton Abbey the movie
“I want everything to stop being a struggle”
To crib the tagline of a certain jukebox musical (here we go again…) you already know whether you’re a fan of Downton Abbey the movie. By any stretch of the imagination, it is just an extension of the TV series and so is guaranteed to maintain that same level of comfort that you have always got from the Granthams et al, whether that’s good or bad.
For me, it means a thoroughly unchallenging film and one which proves increasingly dull. (For reference, I’ve only ever seen (some of) the Christmas Day episodes as my parents are fans.) The hook of the film is that it is now 1927 and King George V and Queen Mary are coming to stay for the evening and heavens to Betsy, we’re all of a dither. Continue reading “Film review: Downton Abbey (2019)”
I end up a little disappointed after an excellent first half of Man in an Orange Shirt
“You didn’t think we could set up home together like man and wife?”
I wanted to love Man in an Orange Shirt , I really did. A BBC two-part mini-series from 2017, it was written by Patrick Gale using elements from his own family history. And featuring a cast that is both suitably impressive -James McArdle, Vanessa Redgrave – and pretty – newcomers to me Julian Morris and Oliver Jackson-Cohen.
The first half is by far the stronger. Set in the 1940s, old schoolmates Michael and Thomas find themselves stationed together in WWII Italy. An unexpected connection blooms between the pair and once war is over, Michael searches out Thomas and they spend a blissful weekend together. Only trouble is, Michael also has to eventually reunite with his fiancée too. Continue reading “TV Review: Man in an Orange Shirt”
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”