Jessie Buckley is astonishing as the National Theatre’s Romeo and Juliet makes the jump from stage to screen to extraordinary effect
“What satisfaction canst thou have tonight?”
By rights, we should have seen Simon Godwin’s Romeo and Juliet at the National Theatre last summer but the stars realigned for these star-cross’d lovers and now we have the gift of the National’s first ever film. Emily Burns’ sleek adaptation has been reworked for the camera and with DP Tim Sidell reimaginging the possibilities of working onstage, something truly cinematic yet innately theatrical has emerged.
With a supporting company (plucked from my dreams) that included Deborah Findlay, Lucian Msamati, and Tamsin Greig, I was pleasantly surprised that the young leads lived up to their billing with two fine, emotionally wrought performances. Josh O’Connor’s Romeo carries the weight of the world on his shoulders but flickers beautifully into life upon the stolen touch of fingertips with Juliet. And Jessie Buckley as Juliet shimmers with luminosity with the intensity of the feelings that take her over. Continue reading “Review: Romeo and Juliet, National Theatre via Sky Arts”
The National Theatre’s Romeo & Juliet has the cast I dream about so it’s a bit of a bummer that it’s had to be turned into a filmed version but as solutions go, it’s a pretty good one. And given the look of these images by Rob Youngson, it looks to be living up to expectation.
Catch Romeo & Juliet at 9pm Sunday 4 April on Sky Arts (UK) and 9pm Friday 23 April on PBS (US)
Continue reading “A look at the National Theatre’s Romeo & Juliet”
A first-look image has today been released for the National Theatre’s Romeo & Juliet, a feature film for broadcast on Sky Arts and PBS this April. The image features Romeo, played by Josh O’Connor (The Crown, God’s Own Country) and Juliet, played by Jessie Buckley (Chernobyl, Judy), as they meet by moonlight at Juliet’s balcony. The image was taken during filming at the National Theatre.
The NT also announces today that Olivier Award winner Adrian Lester (Life, Undercover) will play the Prince in the film. Also joining the cast is Lloyd Hutchinson as Lord Capulet, Colin Tierney as Lord Montague and Ella Dacres as Peta. As previously announced, the cast includes Fisayo Akinade as Mercutio, Deborah Findlay as the Nurse, Tamsin Greig as Lady Capulet, Lucian Msamati as the Friar, Shubham Saraf as Benvolio, David Judge as Tybalt, Alex Mugnaioni as Paris and Ellis Howard as Sampson. Continue reading “News: full casting for National Theatre’s Romeo & Juliet”
A free screening of the critically acclaimed A Doll’s House, adapted by the award winning Tanika Gupta and directed by Artistic Director Rachel O’Riordan will be available for one day only via the Lyric’s YouTube from 2.30pm until midnight on Wednesday 20 May, 2020.
Artistic Director Rachel O’Riordan said:
‘A Doll’s House was the first production I programmed and directed as the new Artistic Director of the Lyric Hammersmith Theatre, it embodies everything I want the Lyric to be for our audience – world-class theatre, a reimagined classic text, showcasing exceptional talent and celebrating our 125 year old theatre. I’m delighted that we’re able to share this recording for free so that more people can enjoy this production within our beautiful theatre. Alongside our work onstage at the heart of the Lyric is supporting emerging talent from all backgrounds and I’m very much looking forward to personally hosting a series of masterclasses to continue this engagement and support.’
A Doll’s House opened at the Lyric in September 2019, the production was filmed at the end of the run and will be available for one day only from 2.30pm until midnight on Wednesday 20 May on the Lyric’s YouTube channel. Continue reading “News: the Lyric Hammersmith add A Doll’s House to the streaming collection”
A quick round-up of the rest of September’s shows
Mary Said What She Said, aka how far I will go for Isabelle Huppert
The Provoked Wife, aka how far I will go for Alexandra Gilbreath
A Doll’s House, aka if we must have more Ibsen, at least it is like this
Falsettos, aka finding the right way, for me, to respond
The Comedy Grotto, aka a sneaky peak at Joseph Morpurgo
The Life I Lead, aka something really rather sweet
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
Everybody’s Talking About Jamie, aka well why not go again Continue reading “September theatre round-up”
“For some must watch, while some must sleep”
So part two of the Hamlet week saw me making my first ever visit to Sheffield to the Crucible Theatre where director Paul Miller has reunited with frequent collaborator John Simm in tackling Shakespeare’s epic. I have resisted making any comparisons with the two productions in this review and tried my best to approach the writing of this review as if I had not seen the other.
This Hamlet is very much back to basics, very few props and frippery onstage, so that quite often what we are seeing is simply just a group of actors acting. And whilst on the one hand that was nice to see, on the other, it did mean that there was a whole lot of just standing around and the limited emotional palette with which they had to work meant that too often the connections just weren’t there between the characters, Ophelia and Laertes might as well have been strangers for example. Continue reading “Review: Hamlet, Crucible”
“Let’s all just cheer up and start enjoying ourselves”
It would appear that the punishment for appearing in Madame de Sade last year is banishment to South-West London: Dame Judi is currently doing time in Kingston and Rosamund Pike has now surfaced in Richmond, in this latest version of Ibsen’s Hedda Gabler: should we expect Deborah Findlay to surface in Wimbledon sometime soon? (actually I’d go pretty much anywhere to see her, I think she’s ace!)
But I digress. Ibsen’s tale of the conflict between how a woman feels and behaves and how she is expected by society to feel and behave, is told in the form of the newly married Hedda, resigned to a safe and loveless marriage yet still yearning for a life of passion and willing to manipulate anyone anyhow in order to feel something. And it is told extremely well here with a dark humour that I have never seen before in an Ibsen which made me love it, and an incredibly strong ensemble who have gelled extremely well. The interactions between the characters are quite something to behold, their conversations feel so incredibly real, sparking off each other with ease, and breathing a life and urgency into the text that made a much welcomed, stark contrast to the dour recent Ghosts. Continue reading “Review: Hedda Gabler, Richmond Theatre”