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”
“Make me acquainted with your cause of grief”
The Works is a short film written and directed by Elliot Barnes-Worrell that rather ingeniously explores life for a group of young people on a Peckham estate using only the words of Shakespeare. Barnes-Worrell has worked his way through the Complete Works and woven together his own story by splicing diverse characters and speeches into one powerfully effective whole.
So when tension erupts into a fight between rival factions (“Do you bite your thumb at us, sir?”), a nearby do-gooder called Portia intervenes to break them up (“The quality of mercy is not strained…”), breaking off from a chat with her girlfriend Celia (you always knew that, right?!) and so on and so forth. Barnes-Worrell is endlessly inventive in the way he cherry-picks the source material but it isn’t always immediately clear who is who in the power structures on this estate. Continue reading “TV Review: Shakespeare Lives – The Works”
“I told you we should have gone to the Caribbean”
The world doesn’t really need more sub-Ayckbourn middle class dramas, that’s what current-day Ayckbourn is for. So I ain’t going to write about how much I disliked Elephants.
Running time: 2 hours 15 minutes (with interval)
Booking until 17th January
“If I get drunk, well I know I’m gonna be, I’m gonna be the man who gets drunk next to you”
The idea of a Proclaimers jukebox musical is not one that appealed when I first heard of it and so Sunshine on Leith was hardly on my list of films to see when Stephen Greenhorn’s musical was made into a film by Dexter Fletcher last year. But one of the lead actors George MacKay caught my attention in The Cement Garden a couple of months ago and reading in the programme that he had won awards for his performance, I decided to give it a whirl.
And as is often the case when expectations are low, I ended up absolutely adoring it. It may be jukebox in form but I’d wager most people – myself included – would be hard pressed to name more than two songs by the bespectacled brothers (who make a neat early cameo) and so there’s a real freshness to the score, a vibrancy that is essentially Scottish but ultimately universal in its celebration of the quirkiness of life and the emotions that govern us all. Continue reading “DVD Review: Sunshine on Leith”
“You don’t know whether to go out and say something…or…or not”
Returning to the Shed after a successful run last year, Nadia Fall’s Home is a compelling piece of verbatim theatre, stitched together by an exciting company – many of whom have returned from the original cast – who guide us through the changing, complex world of Target East, a refuge for young homeless people in London. The centre may be fictional but the issues and incidents raised here are anything but.
The need for security, a place where they can feel protected, is common to all the residents here, some just passing through, others destined to stay a bit longer and the staff committed to their thankless tasks just as long as the funding holds out. Fall deliberately crashes narratives into each other, the chaos of life for many of these people reflected in the way their stories get told, echoes of similar experiences creeping through just as much as the stark differences. Continue reading “Review: Home, National Theatre”