The National Theatre has announced a further five productions that will be streamed as a part of the National Theatre at Home series. Established in April to bring culture and entertainment to audiences around the world during this unprecedented period, National Theatre at Home has so far seen 10 productions streamed via the NT’s YouTube channel, with over 12 million views to date. These will be the final titles to be shared for free via YouTube in this period. However, future digital activity to connect with audiences in the UK and beyond is planned, with further details to be announced soon.
The productions will be broadcast each Thursday at 7pm BST for free and will then be available on demand for seven days. Titles added to the programme today include A Midsummer Night’s Dream from the Bridge Theatre, alongside Small Island, Les Blancs, The Deep Blue Sea and Amadeus from the National Theatre. Continue reading “News: National Theatre at Home final phase”
Glenda Jackson is brittle and brutal in the excellent Elizabeth is Missing
“How about some Vera Lynn?”
True story, I’ve read Emma Healey’s novel Elizabeth is Missing and can’t remember anything about it, how’s that for dramatic irony… So Andrea Gibb’s adaptation for the television, directed by Aisling Walsh, held layers of mystery for me, as this murder mystery framed through the lens of dementia intersected with my own hazy recollections of what I thought was slowly coming back to me.
That murder mystery element is the driving narrative force across the two timelines of the drama. Grandmother Maud is trying to find out what has happened to her gardening pal Elizabeth who has vanished, but she’s haunted by memories of the disappearance of her sister Sukey 70 years ago and hampered by the onset of Alzheimer’s which is ravaging her life and her independence. Continue reading “TV Review: Elizabeth is Missing”
A whole lot of post-apocalyptic hurly-burly and sadly not much more besides – the National Theatre’s Macbeth really is something of a red-trousered disappointment
“You have displaced the mirth”
Brexit has ruined Britain. The war of the Scottish Secession has laid ruin to much of the land north of Hadrian’s Wall. The lawless society that has resulted is a place where people once again use plastic bags willy-nilly (for tidying up after beheadings, as party hats – take your pick), where no-one has a mobile phone (presumably because roaming charges have been re-introduced), where the Look at my fucking red trousers meme has translated into despotic rule.
Such is the world of Rufus Norris’ Macbeth which is set ‘now, after a civil war’, hence my slight embellishment of said setting. I should add that I thought of much of this while watching the production, an indication of the level of engagement that it managed to exert. It wasn’t always thus – a bloody prologue is viscerally and effectively done and the entrance of the witches has a genuine chill to its strangeness. Continue reading “Review: Macbeth, National Theatre”
“I’d rather walk in blood than walk a slave for he thy Emperor!”
For every Blue Stockings, there’s been a Pitcairn, with a Bedlam inbetween. No matter the AD, the commitment to new writing in the later part of the summer season at Shakespeare’s Globe has thrown a marked inconsistency. And Tristan Bernays’ Boudica proves no different, given an ambitious production by Eleanor Rhode which strives a little too hard to situate the play in an Emma Rice house-style, fun as it may come across.
So Game of Thrones-style storytelling mashes up against spirited covers of the likes of ‘London Calling’ and ‘I Fought The Law’, a great sense of energy percolating through this wooden O. But Bernays’ play doesn’t always fit easily with this treatment, written in blank verse that has to balance the required info-dump to flesh out this historical fiction with something more fascinatingly insightful about what might have driven the Queen of the Iceni. Continue reading “Review: Boudica, Shakespeare’s Globe”
“Give me the history of the Congo in four and a half minutes”
There’s an ingenious moment in the middle of They Drink It In The Congo when a PR guy has to step in for an ailing colleague at an imminent press conference and utters the line above. The answer he gets exposes not only the vast complexity of the socio-political issues in the Democratic Republic of Congo but also the way in which Westerners seek to reduce them to manageable soundbites so that they can be dismissed as problems easily solved
Which in a nutshell is the key issue at the heart of Adam Brace’s new play for the Almeida. Aware of the impossibility of doing Congolese history justice in a couple of hours, he approaches the issue from an alternative angle, the impossibility of “doing something good about something bad”. Daughter of a white Kenyan farmer, Stef now works for a London NGO and is excited to be given the opportunity to organise ‘Congo Voice’, a new arts festival raising awareness of the issues there. Continue reading “Review: They Drink It In The Congo, Almeida Theatre”
“Do you think the rape of a continent dissolves in cigarette smoke?”
To think that just a couple of weeks ago, I hadn’t ever seen a play by Lorraine Hansberry and now I’ve seen two – the extraordinary A Raisin in the Sun which has now completed its UK tour and this new production of Les Blancs at the National. The sad reality is that there isn’t much more to see now, pancreatic cancer taking her life at just 34, but what a startling legacy this writer left of theatre that delves uncompromisingly into issues of race and identity, that remains as pertinent today as it did the mid-twentieth century when she was writing.
Hansberry didn’t get to complete Les Blancs before her death and so this final text was adapted by her sometime husband and collaborator Robert Nemiroff and it is directed here by Yaël Farber, making her National Theatre debut after her highly acclaimed 2014 The Crucible for the Old Vic. And people who saw that production will instantly recognise Farber’s modus operandi as this show opens in a highly atmospheric manner – a group of matriarchs, led by musical director Joyce Moholoagae, chanting and singing in Xhosa to leave us in no doubt what continent we’re on. Continue reading “Review: Les Blancs, National Theatre”
“I am determined to prove a villain”
It’s nice to see The Faction switching things up a little. Their rep seasons at the New Diorama have considerably brightened up the last few Januaries with Shakespeare, Schiller and more but this year sees them drop the three play model for a single show in Richard III and expand their ensemble to 19 bodies, impressively increasing its diversity in age, colour and gender. The Faction’s playing style is stripped-back and largely prop-free, allowing a focus on physical expression to reinterpret the text.
It’s an approach that is suited to the black box of the New Diorama with its blood-red floor mat, Mark Leipacher’s production making varied and visceral use of bodies to form everything from the tower walls that imprison the young princes to the horse Richard rides into battle. And it’s clear that nothing is accidental here, every choice intelligently considered as seen in the bodies that make up the throne to which Gloucester finally accedes, being those of the four men he has most recently had killed. Continue reading “Review: Richard III, New Diorama”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
“They washed their hands of blood”
The world of Lorca is naturally imbued with the essence of his native Andalusia, the aching sense of duende that characterises much of his work and at first sight, The Faction’s version of Blood Wedding inhabits a similar realm. Martin Dewar’s lighting casts a warmly Mediterranean haze, guitar strings are plucked from afar and the design is stripped back to a border of sand around the edge of the New Diorama’s stage which has been reconfigured into the round. And in the earthen tones of the costumes, the Cassandra-like Mother foretells a tale of woe between two long-feuding families which are soon to be joined in matrimony in an attempt to force a happy ending.
But the heady scent of sexual desire lingers between the wrong people, vengeance lies heavy in the air and there’s a price that must be paid as fate winds its unwieldy way across all concerned. And in their ensemble-led physicality, The Faction – directed here by Rachel Valentine Smith – cultivate the sense of hermetically-sealed community in all its inescapable oppressiveness, ever-present observers from the sidelines and participants in the rituals of marriage. And in the midst of the hustle and bustle, lead performances come shining through. Continue reading “Review: Blood Wedding, New Diorama”
“Happiness comes from desire, not fulfilment”
Though it was not particularly to my taste, Benedict Andrew’s radical take on Three Sisters for the Young Vic was a big success last year and so it is a brave company that takes Chekhov’s play on again so soon, not least in opening with a directorial choice which references it so strongly. It is the second play to open in The Faction’s 2013 rep season at the New Diorama after Schiller’s Fiesco, but where that play made imaginative use of the ensemble and sparkled with interesting direction, there’s not quite the same level of creativity at work here in Three Sisters, as this is altogether a straighter reading of a text.
Ranjit Bolt has adapted the text quite considerably and whilst some may baulk at the contemporised truncations, I rather liked the colloquial ease with which it flowed through the trials and tribulations of the siblings trapped in their Russian backwater, determined but seemingly unable to prevent life from passing them by. Director Mark Leipacher keeps things relatively simple, utilising a set of kitchen chairs in a multitude of ways to suggest the rooms of the house that variously keeps them prisoner, offers a blanket that maintains their declining privilege and yet also forms a kind of refuge from the realities of the word. Continue reading “Review: Three Sisters, New Diorama”