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 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”
During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
Photo credits: One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson Twelfth Night –Marc Brenner
A rare summer in the city for me means I can take in some of the family shows on in the West End right now – Mr Gum and the Dancing Bear the Musical, The Scarecrow’s Wedding, Where is Peter Rabbit? and Monstersaurus
“Microscopic Bobby was my wife”
The world of Mr Gum and the Dancing Bear the Musical(suitable for 7yrs+) as imagined by director Amy Hodge and designer Georgia Lowe is a fantastically bizarre one, full of warm and witty touches that shoud delight children and adults alike. Tiny gingerbread professors, menacing sunflowers, dancing doughnuts, a rainforest of umbrellas, it is an impressive and inventive take on imaginative world-building that perfectly suits Andy Stanton’s storytelling.
All things told, it is a fairly slight tale – bears, beers, butchers, you know the usual, but there’s just such a sense of fun about the whole proceedings. The cast revel in non-sequiturs aplenty (Helena Lymbery, Steve Furst and Gary Wilmot particularly impress), Jim Fortune’s eclectic score builds in post-modern layers that further pique the interest, and the show even manages to sneak in some pretty powerful messaging among all the madness. Recommended. Continue reading “Family theatre in August”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
What happens when whack-a-doodle becomes wearying – find out in Pity at the Royal Court
“What happens next is verging on the ridiculous”
Things start off well at Rory Mullarkey’s Pity. We’re directed to the rear of the Royal Court, enter through the back and get to walk over the stage with tombolas, ice-creams and brass bands all around (I’d happily listen to the Fulham Brass Band’s version of ‘Hello, Dolly’ all day). Chloe Lamford’s design certainly looks a treat in all its cartoon-comic brightness but ultimately, is indicative of a real issue with Sam Pritchard’s production.
“You need to turn your attentions to different people”
For Mullarkey’s play is concerned with violence – paradigm-shifting, society-shattering violence and the way that the British might very well respond to it. And as he suggests that we’d react to the collapse of civiliisation by making a cup of tea, you can’t help but wonder, really? On the one hand, everything here is telling you not to take things so seriously. On the other, communities across the world are being ripped apart in actual conflicts. It’s a tension that never satisfactorily resolves here. Continue reading “Review: Pity, Royal Court”
In some ways, you can’t blame ’em for trying to replicate the extraordinary success of the first series of Doctor Foster, quality drama that fast became a rare appointment-to-view fixture with a rare return to weekly instalments. And given that writer Mike Bartlett is known for his prolific nature, that a second series quickly came into the offing was no great surprise.
But it can be hard to recapture the magic and though all of the key players have returned – most notably warring ex-couple Suranne Jones’ Gemma and Bertie Carvel’s Simon – this set of five episodes has really suffered from a lack of raison d’être. Waves of vicious revenge percolate throughout but with no discernible driving narrative beyond that, it proved far less engaging. Continue reading “TV Review: Doctor Foster Series 2”
#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’ Neaptidebeing 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”
So a slightly odd position to be in, as we sawHarry Potter and the Cursed Child Parts 1 and 2nearly 7 weeks ago at their first previews. And with the #keepthesecrets campaign already in full force then, I didn’t write up a review, opting instead for this preview of sorts. And even now, I’m loathe to write too much about it, for it really is the kind of play, and production, that benefits from the multiple elements of surprise contained within.
And it really is packed full of them, from all aspects. Based on an original new story by JK Rowling, Jack Thorne and John Tiffany, Thorne’s play revels in the richness and full depth of the Harry Potter universe to the point where the named cast are described as playing “roles include…” so as not to spoil what’s to come. This does have the knock-on effect of making this a play not really suitable for newcomers but I can’t imagine too many of them will have booked! Continue reading “Review: Harry Potter and the Cursed Child, Palace – totes spoiler free!”
Well it’s finally here,Harry Potter and the Cursed Child Parts 1 and 2have landed at the Palace Theatre in a blaze of insane publicity and media coverage desperate for a touch of that JK Rowling magic to drive web traffic. In some ways, I’m no different (hence this post!) but in one crucial way I do have the advantage – I’m one of the lucky audience members who has now seen both shows, along with the one and only scene-stealing appearance of Sprocket the owl.
It’s no secret that Rowling is asking people to #KeepTheSecrets and there’s always an interesting tension about whether or not one should observe an embargo when you’ve paid for your ticket (a whole £10 per show too, we weren’t going crazy!). So for now, I’m leaving you with this little collection of teasers about some of my favourite things from the show and be warned, they do increase in mild spoilerishness (mostly about staging, the final E is the one to avoid if you’re not sure…forgive me JK!). Continue reading “Preview: Harry Potter and the Cursed Child, Palace”