The National Theatre has today announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, Michaela Coel’s Chewing Gum Dreams, the Young Vic’s A View from the Bridge directed by Ivo van Hove with Mark Strong and Nicola Walker, and Rufus Norris’ production of Everyman with Chiwetel Ejiofor will be available for all audiences worldwide to stream. Danny Boyle’s production of Frankenstein and Sonia Friedman Productions’ Hamlet with Benedict Cumberbatch will also be available for audiences outside the UK and Ireland. Continue reading “News: National Theatre adds five new productions to streaming platform National Theatre at Home”
Amazon has partnered with the National Theatre to stream four high-profile live-recorded stage shows, including Phoebe Waller-Bridge’s Fleabag.
The shows, which include Benedict Cumberbatch and Jonny Lee Miller in 2011’s Frankenstein, will be made available to Amazon’s Prime Video customers in the UK and Ireland from 11 June.
The two other performances are Cumberbatch as Hamlet, filmed at the Barbican in 2015, and Ian McKellen on Stage, a solo show the Lord of the Rings actor toured in 2019 to mark his 80th birthday.
Shakespeare’s Globe has revealed the season of shows that will begin on 19th May in accordance with the government’s roadmap. Social distancing measures will be implemented so performances will featured limited audience capacity for an initial period. Continue reading “News: Shakespeare’s Globe reveals 2021 season”
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”
The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Running time: 65 minutes (without interval)
Photos: Johan Persson
ANNA is booking at the National Theatre until 15th June
Pinter Four serves up something of a difficult double bill at the Harold Pinter Theatre, but Bríd Brennan and Janie Dee are there to help us through the dark times
“Rationality went down the drain donkey’s years ago and hasn’t been seen since”
Thing about blogging is you can’t hide from the past, or your past opinions, so the fact that the first time I saw Harold Pinter’s Moonlight was one of the most torturous hours I’d spent in a theatre up until then is no secret. So the fact that it was included along with Night School in the double bill that makes up Pinter Four gave me significant – Pinteresque even… pause.
But that was seven years ago, people change, as do tastes, and the luxury casting of the Pinter at the Pinter season made it an attractive enough proposition to revisit. And am I a now Moonlight convert? Not exactly, but it did prove a less painful experience, even if it does still maintain a power to elongate time which is exacerbated by its coolly distant demeanour. Continue reading “Review: Pinter Four, Harold Pinter Theatre”
Sophie Treadwell’s 1928 expressionist play Machinal receives an extraordinary production from Natalie Abrahami at the Almeida Theate
“Your skin oughtn’t to curl – ought it – when he just comes near you- ought it? That’s wrong, ain’t it? You don’t get over that, do you – ever, do you or do you?”
Sophie Treadwell’s 1928 play Machinal may be the story of one woman battling societal pressure but Natalie Abrahami’s production for the Almeida Theatre teases out a more elemental struggle, one which stretches over the majority of the twentieth century and by extension, even further.
The story is rooted in its ordinariness. Emily Berrington’s Young Woman gets by at a job she doesn’t like, marries the first guy who shows an interest, gives birth to a child she scarcely wants – expectations check check checked. But as she learns that she wants more, can want more, the weight of societal pressure comes to bear. Continue reading “Review: Machinal, Almeida Theatre”
“I’m way too pretty not to be in the movies”
Just a quickie for this, as it has now closed. Kemp Powers’ One Night In Miami… takes place on 25th February 1964 in the aftermath of Cassius Clay’s prize-winning fight with Sonny Liston. In a Floridian hotel room, he marks the occasion by hanging out with his friends Malcolm X, singer Sam Cooke and sports star Jim Brown as they reflect on the momentous point in the US civil rights movement that they variously find themselves involved in. And what could have been a dry debate is brought wonderfully to life by Powers’ script, Kwame Kwei-Armah’s direction and a great cast.
Sope Dirisu’s Clay is on the cusp of converting to Islam and changing his name but Dirisu finds the man behind the myth most delightfully, David Akala’s Brown is genially laidback, and Arinzé Kene sings wonderfully as Cooke whose integrationist views contrast strongly with Francois Battiste’s Malcolm X who is advocating a more militant course of action. There’s also Dwane Walcott and Josh Williams as the two wary guards from The Nation of Islam, adding tension and unpredictability, and altogether it proved a most fascinating and illuminating piece of drama.
Running time: 90 minutes (without interval)
Booking until 3rd December
“This revolt of thine is like another fall of man”
It would be great to live in a world where gender-blind casting isn’t newsworthy in and of itself but we don’t and so it should be shouted out and celebrated wherever it happens, until the day that it just feels rightly commonplace. What should always be celebrated though is the opportunities being given to some our greatest actors to take on powerful leading roles – the intrigue of Glenda Jackson’s return to the stage, the trifecta of Harriet Walter’s Donmar leads soon to be capped off with Prospero and here at the Open Air Theatre, the glorious Michelle Terry rising to the challenge of Henry V.
Insofar as Robert Hastie’s modern-dress production has a conceit, it’s of a group of actors coming together to put on a play, waiting for Charlotte Cornwell’s Chorus to anoint one of them with the leading role – and it’s hard not to feel a frisson of delight as she bypasses the cocky guy pushing to the front to place the crown on Terry’s head. And from then, it’s a relatively straight-forward production, playing out on the wide expanse of Anna Fleischle’s square of riveted iron, props kept to a minimum, John Ross’ movement coming to the fore in impressionistic battle scenes lit beautifully by Joshua Carr. Continue reading “Review: Henry V, Open Air Theatre”