The National Theatre, in partnership with Bloomberg Philanthropies, has today launched National Theatre at Home, a brand-new streaming platform making their much-loved productions available online to watch anytime, anywhere worldwide.
Launching today with productions including the first ever National Theatre Live, Phèdre with Helen Mirren, Othello with Adrian Lester and the Young Vic’s Yerma with Billie Piper, new titles from the NT’s unrivalled catalogue of filmed theatre will be added to the platform every month.
In addition to productions previously broadcast to cinemas by National Theatre Live, a selection of plays filmed for the NT’s Archive will be released online for the first time through National Theatre at Home, including Lucy Kirkwood’s Mosquitoes with Olivia Colman and Inua Ellams’ new version of Chekhov’s Three Sisters (a co-production with Fuel). Continue reading “News: NT launches new streaming service National Theatre at Home”
In its exploration of the human stories around the nuclear accident, Craig Mazin’s mini-series Chernobyl is simply superb
“You are dealing with something that has never happened on the planet before”
Yeesh! TV dramas surely don’t have the right to be as good as Chernobyl, particularly when they’re ostensibly about such grimly horrific a topic as this, But as creator, writer, and executive producer Craig Mazin has adroitly identified, the 1986 nuclear disaster – and the human impact it had on those closest to it – is relatively under-explored, in mainstream Western culture at least.
Chernobyl seeks to explain what happened on that fateful day, and its terrible aftermath, on two distinct levels. Focusing in on the microlevel, we follow stories such as those of the power station workers, the first responders, the people who watched the fire burn up close. But it also takes a strategic look at the Soviet system at large, tracing the institutional problems that allowed it to happen.
Continue reading “TV Review: Chernobyl”
“I can be anything I want.
I can be a Hufflepuff if I want.”
Just a quickie for this as it closes this week (I had the unfortunate accident of being in Vienna for its press night). Lucy Kirkwood’s Mosquitoes has been a sell-out success for the National, packing out the Dorfman perhaps initially for its deluxe casting of two Olivias – Colman and Williams – but latterly due to some superb word of mouth as well. And given that this is largely a play about two sisters who can’t help but bicker all their lives, it is brilliantly well cast.
Williams is Alice, a scientist working at the Large Hadron Collider at CERN and Colman is Jenny, a medical sales rep living in Luton. Nominally, the former is a success, the latter a fuckup, an idea reinforced by Jenny arriving in Geneva to recuperate from a devastating personal loss. But Kirkwood’s writing is far too nuanced to let that be all, she thoroughly interrogates our preconceptions as she whirls through a universe-ful of ideas including anti-vaxxers, revenge porn, society’s inherent misogyny, science and religion and much more besides. Continue reading “Review: Mosquitoes, National Theatre”
Christine Edzard will be writing and directing a new version of The Good Soldier Schwejk, based on the satirical Czech novel by Jaroslav Hašek, and creating a daring theatrical and filmic experience.
Published in serial form, The Good Soldier Schwejk became an instant success. Hažek died in 1923 leaving the novel unfinished. By 1926 it was translated into German and spread across Europe, acquiring cult status. Since then, the good soldier has appeared in many forms across the world, as a powerfully comic symbol of anti authoritarianism, anti militarism and resistance.
Edzard will present a contemporary ‘take’ on Hašek’s original, in an unconventional, rule-breaking adaptation. The subject of Edzard’s film is in fact a play, a comedy, which she has scripted as a live, cabaret style performance. Her Schwejk will be filmed from curtain up to curtain down as performed over the course of a week in the intimate wooden theatre at Sands Studios in Rotherhithe. The compression of Hažek’s sprawling novel into cabaret form will add bite and contemporary relevance to the satire. The Cabaret form also reflects the background of Schwejk’s original creator – Jaroslav Hašek was a frequent performer of politically engaged cabaret in Prague.
A small cast:
will take on multiple roles and there will be live music and (partially scripted) audience participation. Editing will take place after the shoot in the normal way
It all sounds very intriguing indeed (follow their Twitter here for more info) and I’m pleased to be able to share some rehearsal images for Good Soldier Schwejk with you below. Continue reading “Round-up of news and treats and other interesting things”
“It means, Mrs Twit, we’re going to have some fun”
Truth be told, I wasn’t really a fan of The Twits when I was a kid – the tales of worm spaghetti grossed my sensitive little soul out and I was much more at home reading about the delirious pleasure of the mixing of George’s Marvellous Medicine. So the news of the latest Roald Dahl adaptation to hit a London stage wasn’t one that necessarily filled me with the greatest of glee, especially since this version of The Twits is coming to the Royal Court via a “mischievous adaptation” courtesy of Enda Walsh, a playwright with whom I’ve had mixed experiences, and director John Tiffany.
And predictably, it is a curious confection that they’ve cooked up alongside the plate of wormy spaghetti which sent shivers down my spine once again. Aimed at “brave 8 year olds and their families”, it makes little concession to being a traditional family show and mines a rather dark and twisted approach – one suspects Mr Dahl might well have approved – but one which didn’t always seem to connect with the youngsters in the audience at this final preview before press night. The first half in particular saw mostly fitful adult laughter in a tale that is rather stark in its cruelty and political leanings. Continue reading “Review: The Twits, Royal Court”
I realise I’m just adding (belatedly) to the plethora of 2015 features already published but so many of them trod the boringly familiar ground of forthcoming West End shows (and in the Evening Standard’s case, managed to recommend booking for three shows already sold out from their list of six). So I’ve cast my net a little wider and chosen a few random categories for just some of the shows I’m recommending and looking forward to in 2015.
Continue reading “Looking ahead to 2015”