The end begins… Jodie Whittaker’s final full season as Doctor Who starts with ‘The Halloween Apocalypse’, episode 1 of Flux
“Synchronize watches. Forget that: I’m not wearing a watch”
There’s perhaps something a little awry when news of a show’s new showrunner overtakes the show itself but such is the way of the Doctor Who discourse. Russell T Davies coming back to the show is undoubtedly a huge development but it does feel a bit of a shame that this was announced before Jodie Whittaker at least got to start her final series in the TARDIS. But whaddya gonna do?
For Series 13, Chris Chibnall has opted to shake up the model and so we’re being given Flux, a six-part single story ahead of a handful of specials next year which will lead to Whittaker’s departure. This era has been, not necessarily hit and miss for me but something less than essential, though I think that it is perhaps as much me growing apart from Doctor Who a touch, something that actually started in the Capaldi era. Continue reading “TV Review: Doctor Who Flux Episode 1”
The National Theatre has announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, the Young Vic and Joshua Andrews’ production of Tennessee Williams’ timeless masterpiece A Streetcar Named Desire featuring Gillian Anderson as Blanche DuBois, Ben Foster as Stanley and Vanessa Kirby as Stella, the NT’s recent production of Dylan Thomas’ Under Milk Wood with Michael Sheen and Nadia Fall’s verbatim play Home that explores homelessness in the UK featuring Michaela Coel. New productions are added each month and since launching in December 2020, there are now 31 productions available to stream on the platform.
It is also announced today some of the productions that audiences can expect to see on the platform in the coming months. Those productions are confirmed to include Antony & Cleopatra with Ralph Fiennes and Sophie Okonedo in the title roles; Hedda Gabler with Ruth Wilson in the title role; Caryl Churchill’s Top Girls in the Lyttelton theatre from 2019; Sally Cookson’s 2017 production of Peter Pan; Yaël Farber’s Salomé and James Graham’s political drama This House, alongside current NT productions; Kae Tempest’s Paradise with Lesley Sharp and Winsome Pinnock’s Rockets and Blue Lights. Ian McKellen on Stage will also join the platform this autumn for audiences outside the UK and Ireland. It is currently available in the UK and Ireland for Amazon Prime subscribers. Continue reading “News: National Theatre adds new productions to streaming platform NT at Home”
The National Theatre has today announced the latest productions to be made available on its streaming platform, National Theatre at Home. Launching today are two National Theatre productions: Hansard, Simon Woods’ witty and devastating play, directed by Simon Godwin (Romeo & Juliet, Twelfth Night); and Treasure Island, adapted by Bryony Lavery (Frozen, Kursk) from the iconic novel by Robert Louis Stevenson and directed by Polly Findlay (Antigone, Beginning). New productions are added each month and since launching in December 2020, there are now 28 productions available to stream on the platform. Continue reading “The National Theatre adds Hansard and Treasure Island to streaming platform National Theatre at Home”
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”
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”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
Some titanic acting performances from Sally Field, Bill Pullman and Colin Morgan in this superb All My Sons at the Old Vic Theatre
“We all got hit by the same lightning”
You do wonder how new playwrights are ever going to get a look-in when Arthur Miller can dominate London theatres without it even being a significant anniversary year for him. That said, the Old Vic’s second Miller in a row sees a Headlong co-production of All My Sons (with Death of a Salesman imminent at the Young Vic, he’ll have the run of The Cut) that gives an enviable target to aim for.
I’ve seen a handful of All My Sons since starting the blog, from the sublime and superb to the somewhat less impressive, and it is remarkable how it stands as a play that really needs little doing to it for its quality to shine through. And so it is with Jeremy Herrin’s production here, a relatively straightforward one for Headlong all told, but all the more effective for it. Continue reading “Review: All My Sons, Old Vic”
#1 in the National Theatre’s Queer Theatre season of rehearsed readings
“My God, I wanted three daughters like the Brontes and I ended up with a family fit for a Channel Four documentary”
There was a special currency for Sarah Daniels’ Neaptide being the opening play in the #ntQueer season as this 1986 drama was actually the first by a living female playwright at the National Theatre – an astonishing fact all told. And it is perhaps sadly predictable that Daniels now finds herself somewhat neglected as a writer, despite being prolific in the 80s and 90s.
Neaptide proved a strong choice too, a powerful exploration of the extent to which lesbian prejudice permeated society and institutions even as late as this, and indeed how little we’ve moved on – in some ways. Daniels presents us with three generations of lesbians and explores how they deal with working or studying at the same school when a scandal threatens to upturn all of their lives. Continue reading “Review: Queer Theatre – Neaptide, National Theatre”