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”
The National Theatre has announced a further five productions that will be streamed as a part of the National Theatre at Home series. Established in April to bring culture and entertainment to audiences around the world during this unprecedented period, National Theatre at Home has so far seen 10 productions streamed via the NT’s YouTube channel, with over 12 million views to date. These will be the final titles to be shared for free via YouTube in this period. However, future digital activity to connect with audiences in the UK and beyond is planned, with further details to be announced soon.
The productions will be broadcast each Thursday at 7pm BST for free and will then be available on demand for seven days. Titles added to the programme today include A Midsummer Night’s Dream from the Bridge Theatre, alongside Small Island, Les Blancs, The Deep Blue Sea and Amadeus from the National Theatre. Continue reading “News: National Theatre at Home final phase”
Felix Legge’s ManCoin proves a chilling reminder of how shallow wokeness can be, playing at the VAULT Festival now
“I’m one of the good guys, remember that”
#notallmen right? Felix Legge’s play ManCoin puts the case that, well, it really could be, it really probably is. Guy White wears his wokeness like a badge, his every statement parsed to align with liberal sensibilities, his new cryptocurrency designed to reward those who carry out good deeds. Right on man!
But peek beneath the proffered bleeding heart and a shell of fragile masculinity becomes apparent, revealed in all its ugliness when Guy has a fight with his girlfriend Polly and a drunken snafu positions him at the forefront of the men’s rights movement. From there, his persecution complex runs wild, showing just how deep – or otherwise – self-proclaimed wokeness is. Continue reading “Review: ManCoin, VAULT Festival”
After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End
“I couldn’t leave this place, not in my mind, not in my heart”
After a scorching run at the Young Vic, Matthew Lopez’s The Inheritance makes a well-deserved transfer into the West End. And though the seats (and some of the sightlines) at the Noël Coward Theatre make it a little bit more of an endurance test over its near-seven hours of drama, the experience remains a truly soul-enhancing, life-enrichening thing.
All but one of the original cast have returned (Jack Riddiford stepping in for Luke Thallon who has turned to alternative Cock in Chichester), but none of the production’s magic has been lost. Indeed, for those who have seen it before, it is almost better second time round as the exquisite agony of knowing what is to come deepens so much of the first part. Continue reading “Review: The Inheritance, Noël Coward Theatre”
All but one of the original cast of The Inheritance will make the transfer into the West End at the Noël Coward Theatre
The ensemble cast of The Inheritance at the Noël Coward Theatre is now confirmed and will include: Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Jack Riddiford, Kyle Soller and Michael Walters. The main change is that Jack Riddiford joins the company in place of Luke Thallon who is going to be appearing in Chichester’s revival of Mike Bartlett’s Cock instead.
I absolutely adored The Inheritance when I saw it at the Young Vic and am glad that the brave decision to transfer this major new work into the West End has been made. It certainly deserves a bigger audience and I sincerely hope that they come – and why wouldn’t they, when you look at this lovely set of blossom portraits of the new cast by Johan Persson.
All photography by Johan Persson
An epic gay play for the 21st century – Matthew Lopez’s The Inheritance is a must-see at the Young Vic
“A chain of gay men helping each other, loving each other, hurting each other, understanding each other”
It would be easy to focus on the fact that The Inheritance is long and yes, its two parts total up to nearly seven hours in the thankfully comfortable seats of the Young Vic. But they also sum up to a brave and epic piece of new writing from Matthew Lopez, taking a scalpel to contemporary gay life in New York, asking what does it mean to be a gay man today and just how much of that is owed to an inherited (and neglected) cultural legacy.
Structurally, the play owes a curious debt to EM Forster’s Howard’s End, using it as a considerable inspiration for plot but also as a device to launch into its storytelling, which has an occasional tricksiness to it, pulling at the thread of the stories we wish we could tell rather than the ones we have to. That main story centres on Eric and Toby, a gay couple who have the foundations of their relationship rocked when the tenancy of their amazing apartment is terminated. As their lives reshape around new realities, new experiences, new challenges, they come to see how little of the world they really know. Continue reading “Review: The Inheritance, Young Vic”
“Holy shit, Meryl Streep is here?”
I’m just going to write the one review to cover both parts of the The Inheritance but I wanted to flag up that if, for some crazy reason, the full seven hours of Mathew Lopez’s epic didn’t appeal, then you could do worse than sticking with Part One. For though it may not have any Vanessa Redgrave, it does contain a moment of pure transcendent beauty that left me weeping on the bus journey home, and so how could you possibly now resist?! Continue reading “Not-really-a-Review: The Inheritance Part One, Young Vic”
“He is an actor. Unless you have reviewed him, had intercourse with him, or done both simultaneously, he won’t remember you”
With Gemma Arterton doing a Welsh accent and some wistful crying, Rachael Stirling as a fearsome, elegant-trouser-wearing lesbian with a fabulous line in repartee, Bill Nighy being Bill Nighy, and the subject being women working in wartime, Their Finest is pretty much tailor-made for my interests, it even has bonus Helen McCrory in it for God’s sake! But even without all that box-ticking, it is a gently, most enjoyable film.
Adapted by Gaby Chiappe from Lissa Evans’s novel Their Finest Hour and a Half, and directed by Lone Scherfig, the story follows a British Ministry of Information film team making a morale-boosting film about the Dunkirk evacuation during the Battle of Britain and the London Blitz. So it’s a film about making films, the romance and realities of the business, with the added spin of it being set in wartime. Continue reading “Film Review: Their Finest”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
“My God, how I hate getting tangled up in other people’s emotions.”
For such a enduringly magnificent play and a lead part considered “one of the greatest female roles in contemporary drama”, it’s then a little surprising (and sad) that it has been a good while since we’ve seen a major production of The Deep Blue Sea, especially given the number of Hamlets and Lears we continually get. 2011 saw Maxine Peake and Amanda Root take on Hester in Leeds and Chichester respectively but now, Helen McCrory stakes her claim as one of the finest living British actors in playing the part at the National Theatre.
The production sees her reunite with director Carrie Cracknell after their striking Medea, and their collaboration similarly heightens the blistering emotion of the drama. Terence Rattigan’s story of shattered lives in a shattered post-WWII society drew heavily on his own tumultuous romantic life, homosexual subtext thus coded into the tale of a woman unable to maintain the veneer of respectability to a judge she does not love, instead opting to plunge into the instability of an affair with a troubled former RAF pilot. Continue reading “Review: The Deep Blue Sea, National Theatre”