The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
Best Drama Series
The Crown (Netflix)
I Hate Suzie (Sky Atlantic)
Gangs of London (Sky Atlantic)
Save Me Too (Sky Atlantic)
Adult Material (Channel 4)
I May Destroy You (BBC One)
Normal People (BBC Three)
Small Axe (BBC One) Continue reading “2021 British Academy Television Awards nominations”
The National Theatre has today announced that two new filmed productions have been added to its streaming service National Theatre at Home: the Young Vic’s Cat on a Hot Tin Roof and the National Theatre and Out of Joint’s co-production Consent. Continue reading “News: National Theatre adds Cat on a Hot Tin Roof and Consent to streaming platform”
I’ve loved these deep dives into Tristram Kenton’s photo archive on the Guardian and with this selection from the Royal Court, there’s a lovely reminder of so many great productions (plus some that got away):
Photos: Tristram Kenton
“Demons run when a good man goes to war”
And here it is, the point at which I stopped loving new Doctor Who, even in a series that has two of the best episodes it has done, and the first series that I haven’t ever rewatched in its entirety. I do enjoy Matt Smith’s Eleven immensely but the writing across this season – which was split into two for transmission – was just fatally erratic for me. Alongside the innovative work from Neil Gaiman in The Doctor’s Wife and Steve Thompson in The Girl Who Waited, two contrasting but superlative pieces of writing, stories such as The Curse of the Black Spot and Night Terrors took the show to a less sophisticated place – (or do I really mean that I started to feel that this version of Doctor Who wasn’t necessarily aimed at me…?)
Even the big finales (for there were two, one for each half) fell a little flat. The premonition that the Doctor would “fall so much further” than ever before in A Good Man Goes to War raised expectations only to be dashed by an overloaded episode with little emotional heft aside from the River Song reveal, and The Wedding of River Song suffered from the general over-use of the characters dying-but-not-really-dying trope (poor Arthur Darvill…). That said, the high points of the series are so very good – the striking US-set opening double-bill, the Doctor finally meeting the TARDIS, and brain-scratching sci-fi with real heart. Frustratingly inconsistent. Continue reading “Countdown to new Who: Doctor Who Series 6”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“Of course I have disposable income, I rent in Zone 4”
It’s black and white – no means no. That should be enough right? Except all too often, sadly it isn’t, and the many different ways in which this is true form the bedrock of Consent, Nina Raine’s new play for the National Theatre, co-produced with Out of Joint. From the multitude of ways in which consent can be exploited by the legal profession in the public sphere, to the brutal, personal intimacy of how it impacts on a disintegrating marriage, Raine plays interestingly and intelligently with shades of grey.
Barristers Ed and Tim are on opposing sides of a rape case and there’s little love lost between them personally either, as the perennially single Tim is a long-term friend of his wife Kitty, who is trying to set him up with another pal, actress Zara (played by the wonderful Daisy Haggard). And as Ed and Tim do battle around the finer points of Gayle’s case – she alleges she was raped on the day of her sister’s funeral – with their focus on legally outmanoeuvring the other rather than on the victim, a twist that puts all their private lives under the microscope shifts their perspective entirely. Continue reading “Review: Consent, National Theatre”
Mountains of info was released by the National Theatre about their plans for 2017-18 at this morning’s press conference, so much that I’m still digesting the half of it. Particular stand-outs on the first sift though, are
- Ivo van Hove’s return (after his Hedda Gabler) with a world premiere adaptation of Network, with no less than Heisenberg himself, Bryan Cranston making his UK stage debut
- The cast of Nina Raine’s Consent including Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.
- The glorious Amadeus returning in the new year, Michael Longhurst’s stellar production wisely keeping its two leads of Lucian Msamati and Adam Gillen intact
- The Headlong co-production of DC Moore’s Common will see Anne-Marie Duff return to the South Bank along with Trevor Fox.
- And Duff is clearly in for the long haul, as she’ll also appear in Macbeth with Rory Kinnear, a taster of which we saw at the Shakespeare Live event
- Cast and creatives for Yaël Farber’s Salomé have been announced too. It is designed by Susan Hilferty with lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend.More, much more, information after the jump.
Continue reading “News: so much goodness at the National Theatre 2017-18”
“If we drill down into the numbers, you’ve got a solid popularity arc here”
On the seventh day of Christmas, Black Mirror gave to me…a Hollywood makeover courtesy of Netflix
In what could be seen as a rather ironic move, Black Mirror found itself the subject of a bidding war, the result of which was its third series of 12 episodes, later split into 2 series of 6, was commissioned by Netflix and shown exclusively there, Channel 4 losing out and protesting about such behaviour until they did the exact same thing to the BBC with the Great British Bake-Off that is…
There’s no defined order to the six episodes, that’s the nature of an anthology series, but there’s no mistaking the order Netflix want you to watch them in, leading with Nosedive, the episode featuring a Hollywood star in Bryce Dallas Howard. Directed by Joe Wright, it also deviates a little from standard practice by having a teleplay written by Michael Schur and Rashida Jones from an idea by Charlie Brooker, rather than Brooker himself like the majority of the other episodes. Continue reading “12 Days of Christmas – Black Mirror 3:1”
“I appreciate the thought, honestly. But given that we were almost killed by a couple of Death Eaters a few minutes ago…”
aka the one with a road trip (and a superfluous extra part)