After the pandemic robbed us of the chance to see 24 hours of Ruth Wilson, the celebrated (not least by me) actress has revealed her plans to return to the London stage. She’s set to star in The Human Voice, an adaptation of Jean Cocteau’s monologue by Ivo van Hove and designed by Jan Versweyveld, at the Harold Pinter Theatre for three short weeks from 17th March until 9th April.
Ahead of National Theatre at Home’s one year anniversary on 1 December, the National Theatre has today announced the next filmed productions to be added to the streaming service, which is supported by Bloomberg Philanthropies.
Joining the platform today is Simon Godwin’s critically acclaimed 2018 production of Antony & Cleopatra in the Olivier theatre, with Ralph Fiennes and Sophie Okonedo playing Shakespeare’s famous fated couple. Then the iconic and multi-award-winning production of War Horse, based on the novel by Michael Morpurgo, will be available from 1 December until 31 January 2022 on demand internationally for the first time since its premiere 14 years ago. It will be available with British Sign Language, audio description and captions. Continue reading “News: One year of National Theatre at Home – New titles added”
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”
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.
“There’s more to this magical life than the love of the ladies”
It has been impossible to ignore the reception of Ivo van Hove’s Obsession, the slight sense of glee (from some) at being able to dole out a critical drubbing to the feted director. And so I went into the Barbican with a slight sense of defensiveness – I’m only human after all – albeit with the knowledge that no-one is infallible. And whilst Obsession isn’t necessarily van Hove at his best (and lord know we’ve been spoiled there), it still makes for a fascinating piece of theatre.
Based on Luchino Visconti’s 1943 film, adapted by Jan Peter Gerrits and crucially, having its English version written by Simon Stephens, this is an altogether more abstract and expressionist affair than perhaps some were expecting. A tale of sex and murder, whose muscularity and moodiness sprawls over the vast stage with stylish languour, there’s a brooding beauty to the intensity here, captured excellently by two striking lead performances from Jude Law and Halina Reijn. Continue reading “Review: Obsession, Barbican”
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart. Continue reading “20 shows to look forward to in 2017”
“Ik ben misschien de enige die jou kan troosten, maar ik ben de laatste die je kan helpen”
Jean Cocteau’s 1930 monologue La Voix Humaine (The Human Voice) has been a part of Toneelgroep Amsterdam’s repertoire for a few years now, though sadly I’ve not been able to fit it into any my trips there, What I could schedule though was De Andere Stem (The Other Voice), a response piece written by Ramsey Nasr and so I booked myself in, despite not actually having seen what it was responding to!
La Voix Humaine takes the form of a telephone call in which we hear an unnamed woman talk to an ex whom she is barely over, a relationship still invested with huge emotion and what Nasr does in De Andere Stem is to imagine the other side of the conversation, what kind of man could evoke such passion in someone, what might he have done. Directed by Ivo van Hove, it is ferociously intense, very much of a piece with Song From Far Away which played at the Young Vic last year.
With Hedda Gabler, the ever prolific Ivo van Hove is making his National Theatre debut, so you can forgive him returning to a production which he has launched twice before – with the exceptional Dutch actress Halina Reijn in Amsterdam and with Elizabeth Marvel in New York. This time however, he’s working with a new version of Ibsen’s play by Patrick Marber and has the equally extraordinary talents of Ruth Wilson leading his company. And as with his revelatory A View From The Bridge, this is a contemporary reworking of a classic that will frustrate some with its froideur but left me gasping at its gut-wrenching rawness.
As ever, van Hove’s spatial intelligence lends itself to a re-appreciation of the theatrical space in which he’s working. He’s invited audiences onstage at the Barbican, and backstage too and here in the Lyttelton, the wings are closed off by Jan Versweyveld’s gallery-like white box and so characters make their entrances and exits through the same doors that we use – Judge Brack even arrives via the rear stalls at one point. And van Hove keeps things off-kilter onstage too, often pushing the action out to the far edges, focusing the eye on unexpected details like the eloquent sweep of Hedda’s back, the tapping foot of a nervy ever-watching Berthe. Continue reading “Review: Hedda Gabler, National Theatre”
“One bottle of gin and the Resistance is ready to die”
Paul Verhoeven’s Zwartboek, known internationally as Black Book, was the Dutch director’s first film made in his home country since establishing his Hollywood career with hits such as Robocop, Total Recall and Basic Instinct, as well as the immortal classic that is Showgirls. Peter Bradshaw detested it but the Dutch public voted it the best Dutch film ever made, so who knows…for my part, I really rather enjoyed it.
Starting in 1944, Black Book tells of life in the Netherlands under Occupation, following the Jewish Rachel Stein as her life in hiding is shattered, her subsequent escape plans with her family foiled by discovery by the Nazis, and her ensuing life as a resistance fighter dogged by ever-present danger. Under the alias Ellis de Vries, she goes undercover at the local Gestapo office but betrayal is a constant worry and threatens to undermine all she’s working for. Continue reading “DVD Review: Black Book (2006)”