National Theatre adds The Deep Blue Sea and The Comedy of Errors to National Theatre at Home
The National Theatre has today announced The Deep Blue Sea, with Helen McCrory in the lead role as Hester Collyer, will be added to National Theatre at Home for audiences around the world to experience. The recording is dedicated in fond memory of Helen McCrory, who had a long and rich association with the National Theatre and who sadly passed away last month. The Deep Blue Sea was her most recent performance at the National Theatre in 2016. Two on-stage conversations with Helen McCrory have also been made available on National Theatre at Home: one on stage in 2014 with Genista McInosh as Helen discussed preparing to play Medea (also available on National Theatre at Home) and one from 2016 in conversation with Libby Purves about playing Hester in The Deep Blue Sea.
Carrie Cracknell, who directed Helen in Medea and The Deep Blue Sea, said: “Helen was undoubtedly one of the greatest actors of her generation. Incandescent, playful, fierce and wildly intelligent. Her craft and precision as an actor was awe-inspiring. On some afternoons, while Helen was rehearsing The Deep Blue Sea at the NT, the sun would pour through the windows, and it would feel for a moment that time had stopped. That the world had stopped revolving, as the entire cast and crew would stand, quietly enraptured by the humanity and aliveness and complexity of Helen’s work. As we moved the production into the auditorium, I would marvel at how she held an audience of 900 people in the palm of her hand. She could change how we felt with the slightest glance, a flick of the wrist, a sultry pause, yet somehow she never lost the central truth of her character. I couldn’t be prouder that we have this beautiful recording of our production to share. Continue reading “News: National Theatre adds The Deep Blue Sea and The Comedy of Errors to National Theatre at Home”
“How ill agrees it with your gravity to counterfeit thus grossly with your slave”
Ephesus is London, Syracuse is somewhere in the West Indies (I think) and we’re in the modern day: Dominic Cooke’s production of The Comedy of Errors moves into the Olivier at the National Theatre for an epically long run of a thoroughly updated version of this play. One of Shakespeare’s earliest works, it’s a classic tale of mistaken identities as two sets of twins separated at birth by a shipwreck rocket around the same city causing absolute mayhem as wives, merchants and policemen get tangled in a confused mess over the course of a manic day. We took in a late preview of this show which opens officially on Tuesday 29th.
Though it is Lenny Henry’s face on the poster, this is Claudie Blakley and Michelle Terry’s show. As Adriana and Luciana, here a pair of loaded Essex girls, they ooze buckets of attitude as they sit through manicures and massages whilst bemoaning their menfolk and spend the vast majority of the play in some seriously impressive towering heels, even managing to run round the stage in them several times. Blakely’s comic timing is nigh on perfect as she rages through Ephesus/London but also plays a depth to this woman, all too aware of her husband’s philandering and her final contemplative gaze at her husband is a mightily powerful moment. Terry is transformed with straightened blonde locks and a delightfully brash manner which milks every conceivable laugh from her lines: together they are just dynamite. Continue reading “Review: The Comedy of Errors, National Theatre”
“If you intend to f*ck with the god of power, then make sure you don’t fall asleep besides him”
Any play that can use the epithet “your mother-f*cking brother” with complete accuracy has to be worth your attention and sure enough, Welcome to Thebes, a new play by Moira Buffini opening in the Olivier auditorium at the National Theatre, is more than equal to the challenge. The play is quite huge in scope, it looks at the role of women in politics, the state of Africa, the aftermath of war, the relationship between Africa and the West, the tragedy of child soldiers and it tells of them through the prism of Greek mythology, but relocated to the modern day and an unspecified (West) African state.
So we have the story of a female president-elect, Eurydice, struggling to exert herself in both her domestic situation in a country reeling from years of civil war, but also in the male-dominated world of international relations as she needs to establish links with global superpower Athens for much needed aid and investment by engaging with its charismatic leader, Theseus. The clearest analogy to make is with Liberia, the only African state to have an elected female leader of state in Ellen Johnson Sirleaf who came to power after the concerted efforts of a mass movement of women hungry for peace after years of civil war. And if Thebes equates to Liberia, then Athens becomes the United States, the superpower and apparent bastion of democracy but unwilling to provide assistance without considerable caveats; Theseus being an Obama-like leader with a touch more arrogance. Continue reading “Review: Welcome to Thebes, National Theatre”
Having had a whirlwind of publicity whipped up around it through accusations of heavy-handed racism, I was mildly disappointed to not be accosted by any protestors upon entering the auditorium for England People Very Nice, Richard Bean’s new play at the National Theatre. I was less surprised to find that I enjoyed the piece very much, and found largely most amusing, and not at all “racist”.
The play is set up as being performed by a group of asylum seekers awaiting the results of their appeals for residency, and tells the story of wave after wave of immigration of different ethnic groups into Bethnal Green throughout the last few centuries. So we see the French Huguenots arrive and face resistance to their arrival on a number of levels: on culture, on religion, and more materially on housing and on jobs, but yet also finding time for love. Time passes by and as a new wave of immigrants arrive, this time the Irish, so the French find themselves guilty of the same attitudes that were held against them upon their arrival. Continue reading “Review: England People Very Nice, National Theatre”
Featuring 450 characters played by 27 actors with not a word spoken during its 100 minutes running time, The Hour We Knew Nothing Of Each Other is certainly an eyebrow-raiser and an experience, but is it really theatre? I’m still not sure. A Peter Handke play, although presented here by Meredith Oakes in a new translation which has caused a fair bit of mirth considering there’s no talking, so perhaps a new ‘interpretation’ might have been a better way of describing it?
In terms of what happens, well a lot passes by on stage but equally nothing actually happens. People walk, run, skip, jump, limp across the stage in various guises, some dressed as recognisable figures, most just regularly clad, and tiny little stories are played out during their journeys from one side of the stage to other. Life, death, tragedy, sex and lots of comedy are on display here and it is fitfully awe-inspiringly good, especially when there’s the stronger narrative arc that engages the attention, like the terrorist attack towards the end. Continue reading “Review: The Hour We Knew Nothing Of Each Other, National Theatre”