Ahead of National Theatre at Home’s one year anniversary on 1 December, the National Theatre has today announced the next filmed productions to be added to the streaming service, which is supported by Bloomberg Philanthropies.
Joining the platform today is Simon Godwin’s critically acclaimed 2018 production of Antony & Cleopatra in the Olivier theatre, with Ralph Fiennes and Sophie Okonedo playing Shakespeare’s famous fated couple. Then the iconic and multi-award-winning production of War Horse, based on the novel by Michael Morpurgo, will be available from 1 December until 31 January 2022 on demand internationally for the first time since its premiere 14 years ago. It will be available with British Sign Language, audio description and captions. Continue reading “News: One year of National Theatre at Home – New titles added”
As much an M movie as a Bond flick, Skyfall benefits from putting Dame Judi Dench front and centre to make this one of the best Bond films of recent times
“Well, I suppose I see a different world than you do and the truth is that what I see frightens me”
One of the best aspects of Bond in the Daniel Craig era has been the introduction of actual consequences for people. We’re not dealing with total realism to be sure, but rather a thoughtfulness that is too rarely seen in the action genre. Written by John Logan and directed by Sam Mendes, Skyfall is a masterful entry in the Bond canon, playing out the complex relationship between Bond and Judi Dench’s steely M right through to its devastating end.
Delving into both of their pasts and hauling them up to account, the notion of personal vengeance as all-encompassing motive is far more effective than the fate of the Bolivian water supply. And Javier Bardem’s Silva is one of the most genuinely chilling villains for that very reason, his cyberterrorist truly compelling in his psychopathy – that climactic scene in the chapel is simply stunning on all levels.
It’s not perfect: the queer-baiting, sorely underusing Helen McCrory in just one scene, and all the business on the tube is ridiculous (it’s rush hour in the station but the train that crashes is somehow empty? And you can’t slide down the escalators like they do, there’s things in the way. And yes, I know it is a film, hehe). But I’m picking at small things cos I can – the new Q is introduced perfectly (all credit to Ben Whishaw) and ultimately, it’s just a great film, never mind a great Bond film. Continue reading “Film Review: Skyfall (2012)”
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 National Theatre today announces plans to reopen in June, welcoming audiences back to the South Bank for the first time since closing last December. The Olivier and Dorfman Theatres will reopen in June 2021 with Dylan Thomas’ Under Milk Wood and new play by Jack Thorne After Life. Continue reading “News: Olivier and Dorfman Theatres to reopen in June 2021 with Under Milk Wood and After Life”
Marking the month in which he would have turned 90, the Guardian delves into the Harold Pinter chapter of Tristram Kenton’s photo archive:
Photos: Tristram Kenton
Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
The Crown returns with Olivia Colman and Tobias Menzies at the helm, and Helena Bonham Carter stealing the show
“Everyone at the Post Office is delighted with the new profile”
Gotta get those hits…who knows how far behind I am, given I’m 9 hours ahead of the UK at the moment, but I thought I’d jot down my initial thoughts on the first three episodes of series 3 of The Crown (all written by Peter Morgan and directed by Benjamin Caron), as Netflix kindly offered them up as holiday entertainment. (And since I’m away, I’ve been a little insulated from all the Prince Andrew drama, which from over here almost feels like a random bit of guerilla marketing).
- I wonder if I have a little hangover from just how good Claire Foy was, but I’m 100% feeling Olivia Colman in the role yet. She doesn’t seem quite as subsumed into the character, in the way that Foy’s every minutely detailed movement seemed to be. That said, there’s some scorching moments when Jason Watkins’ Harold Wilson dares to suggest her response to the Aberfan tragedy is lacking.
- The excellent Tobias Menzies hasn’t really had enough screen time yet to have his Prince Philip make an impact, though I’ve every faith.
- The casting of Helena Bonham Carter as Princess Margaret is inspired, the extravagance of the character is perfectly suited to her but she’s bringing a real depth at the same time.
- And I have to say I miss Matthew Goode’s hugely erotic insouciance as Antony Armstrong-Jones, Ben Daniels’ much more wearied take hasn’t quite ticked my boxes yet.
Elsewhere, the headlong rush through the years means that we’re doomed to the smallest contributions from some excellent actors – Samuel West’s Anthony Blunt and Angus Wright’s MI5 bod were gone too soon, though I live in hope of more from Penny Downie’s Duchess of Gloucester, Aden Gillett as Richard Crossman and Sinéad Matthews as Marcia Williams (seriously, her accent is a thing of pure beauty).
And given the budget is allegedly in the many millions, it certainly looks a treat once again. From glistening palatial lushness to agonisingly destroyed villages, these are fully realised worlds no matter how short a space of time we end up spending in them. Caron’s direction also makes room for a more uncomplicated cinematic as well though, choosing iconic visual to close out each episode – the regal silhouette, juxtapositions of Margarets old and new, the children playing. This is a Crown that has lost none of its lustre.
Photo: Sophie Mutevelian
Hugh Grant delivers a career best performance in the hugely enjoyable A Very English Scandal. Just don’t mention your National Insurance card.
“Tell him not to talk. And not to write to my mother describing acts of anal sex under any circumstances whatsoever”
I don’t think I’ve ever been chilled quite so much by the end credits of anything like A Very English Scandal. You know, that bit when you find out what happened next to the people who you’ve just been watching. It helps of course that I knew nothing about the 1970s Jeremy Thorpe affair on which it was based but still, never have 11 dogs and a missing NI card seemed so ominous.
Written by Russell T Davies, adapted from John Preston’s book, and directed by Stephen Frears, A Very English Scandal is a complete breath of fresh air. Perhaps surprisingly for a true-life tale of sex, politics and attempted murder, it has a quirky, almost jolly tone that is hugely enjoyable, deftly comic as it negotiates the would-be Machiavellian moves of a politician desperate to save his skin. Continue reading “TV Review: A Very English Scandal”
“The objective of this session is not to conduct a show trial. We want to learn some lessons.”
There’s a rather lazy trope around ‘unlikely subjects’ for a musical which accompany any show that deviates from the apparent norm. Yet given that the Best New Musical Olivier award winners over the past few decades have covered Argentinian politics, Scouse twins, confused animals, missionaries in Africa and post-Impressionist painters, I’m not entirely sure what counts for normal here!
The latest show to use musical theatre to tackle an ‘unexpected’ topic is Committee… (A New Musical), written by Hadley Fraser and Josie Rourke with music by Tom Deering. To take its full name, The Public Administration and Constitutional Affairs Committee Takes Oral Evidence on Whitehall’s Relationship with Kids Company, it uses Parliamentary transcripts to interrogate the public inquiry into the 2015 collapse of the children’s charity along with the millions of taxpayer money it had been given. Continue reading “Review: Committee… (A New Musical), Donmar Warehouse”
“I feel so absolutely stumped on the floor”
Proving that not even Kenneth Branagh is infallible when it comes to Shakespearean adaptations, this musical version of Love’s Labour’s Lost sees him really come a cropper. Relocating the story to 1939 on the eve of the Second World War and swapping out three-quarters of Shakespeare’s text for a handful of Cole Porter songs to evoke the feel of a classic Golden Age musical, it is a curiously insubstantial enterprise and at its worst, somewhat smug.
It doesn’t help that the play itself ain’t a classic, as evidenced by the rarity with which it is produced but still, the approach here just doesn’t work. There’s a game cast of actors who are clearly up for it but their every weakness in singing and dancing is left exposed, there’s a paucity of triple threats here which just leaves you wondering why bother? And when you see the amazing moves of Adrian Lester or the sweet tones of Alessandro Nivola’s voice, you get hints of what might have been. Continue reading “DVD Review: Love’s Labour’s Lost (2000)”