A particularly gutting one this, as Francesca Martinez’s debut play All of Us would have marked a key moment for disabled voices at the National Theatre. À tout à l’heure…
Just look at them:
And just listen to her:
This is definitely a play that we have to make room for once things are up and running again.
For All of Us
You can follow the playwright Francesca Martinez on Twitter here or explore her website here
You can purchase the playtext from Nick Hern Books soon
And the show’s details can be found on the NT’s website here
For the National Theatre
You can follow the theatre on Twitter here
You can look at the different ways of supporting the NT here
And you can sign up to their mailing list here to get any announcements about future plans, once the dust finally settles
Photo: Spencer Murphy. Art direction and design by National Theatre Graphic Design Studio
Jessie Buckley and Josh O’Connor headline a new production of Romeo and Juliet, while Callum Scott Howells and Rosie Sheehy star in Gary Owen’s Romeo and Julie, among other big news from the National Theatre
Simon Godwin returns to the National Theatre to direct Shakespeare’s ROMEO & JULIET following his critically-acclaimed productions of Antony and Cleopatra and Twelfth Night in the Olivier Theatre. Set in modern Italy in a world where Catholic and secular values clash, Jessie Buckley (Wild Rose, Judy) and Josh O’Connor (The Crown, God’s Own Country) play the two young lovers who strive to transcend a world of violence and corruption. Fisayo Akinade (The Antipodes, Barber Shop Chronicles) is cast as Mercutio. The production will open in the Olivier Theatre in August 2020.
Set and costume design by Soutra Gilmour, lighting design by Lucy Carter, composition by Michael Bruce and sound design by Christopher Shutt. Continue reading “News: new productions and casting updates for the National Theatre”
A superb cast including Roger Allam elevates a fine production of Rutherford and Son at the National Theatre
“There’s not a scrap of love in the whole house”
It’s grim up north. I can say this as an absent son of t’other side of the Watford Gap. But in Githa Sowerby’s Rutherford and Son, it really is tough-going. Roger Allam’s mightily bearded Rutherford is a ferociously brutal industrialist from the north-east of England who is fierce at home as in the glassworks he runs but down a generation, there’s a growing tendency towards not putting up with such levels of grimness.
One of his sons bogged off to London and has come back with a working class wife and child, the other wants to find God in Blackpool and his daughter has pretty much been the downtrodden whipping boy for 30-odd years. But it is the beginning of the twentieth century and change is afoot – political and personal, societal and sexual and writ large in the generational struggle here, it can be powerfully affecting. Continue reading “Review: Rutherford and Son, National Theatre”