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”
The Ian Charleson Award celebrates performances by actors under 30 in a classical role and is dedicated to Scottish actor Ian Charleson, who died in 1990 aged just 40. Whilst I remain unconvinced that this is a category that merits special consideration, especially if it isn’t going to reach out to the fringes, it is still good to see a pleasing range of actors being recognised here.
Ronkẹ Adékoluẹjo for Abosede in Three Sisters at the National Theatre
Hammed Animashaun for Bottom in A Midsummer Night’s Dream at the Bridge Theatre
Kitty Archer for Mariane in Tartuffe at the National Theatre
Eben Figueiredo for Christian in Cyrano de Bergerac at Jamie Lloyd Company at the Playhouse
Heledd Gwynn for Hedda in Hedda Gabler at the Sherman Theatre, Cardiff and Hastings and Ratcliffe in Richard III for Headlong
Isis Hainsworth for Hermia in A Midsummer Night’s Dream at the Bridge Theatre
Ebony Jonelle for Rosalind in As You Like It for the National Theatre Public Acts/Queen’s Theatre Hornchurch
Ioanna Kimbook for Cariola in The Duchess of Malfi at the Almeida
Racheal Ofori for Udo in Three Sisters at the National Theatre
Billy Postlethwaite for Macbeth in Macbeth at the Watermill Theatre
Ekow Quartey for Lysander in A Midsummer Night’s Dream at Shakespeare’s Globe
Kit Young for Lysander in A Midsummer Night’s Dream at the Bridge Theatre
Autumn de Wilder offers an Emma. with a contemporary sensibility but not much sense
“Mother, you MUST sample the tart!”
You don’t see Jane Austen much at the theatre. Her situation notwithstanding, over the years I think I’ve only seen a single Pride and Prejudice and a vibrant Persuasion (plus countless Austentatious inventions), adaptations of her work just don’t seem to pop up in theatres with much regularity at all. I wonder why that is for there’s certainly no lack of them on our screens.
I wasn’t much of a fan of the Gwyneth Paltrow-starring film but loved both the TV versions I’ve seen with Kate Beckinsdale and particularly with Romola Garai. This latest iteration of Emma., directed by Autumn de Wilde and adapted by Eleanor Catton, only hit cinemas recently but due to coronavirus restrictions, found its way pleasingly quickly onto on-demand services. Continue reading “Lockdown film review: Emma. (2020)”
Nicholas Hytner gives us an utterly inspired take on A Midsummer Night’s Dream at the Bridge Theatre, with Gwendoline Christie in stupendous form
“Come now; what masques, what dances shall we have”
You can tell a lot about a production of A Midsummer Night’s Dream from the way it treats its Hippolyta. Possessed of so few words, her presence is nevertheless vital for setting the tone of the play and from the moment you walk into the Bridge Theatre, you just know Nicholas Hytner has got it right. This conquered queen is caged in a glass box, as if an artefact in some grotesque museum and as an impassive Gwendoline Christie fixes us with her stare, it’s a definitive commentary on the gender politics here before we’ve even started.
But even once the play starts, her power is no less unremarkable. As Hermia claims she knows not by what power she is made bold, one look at Hippolyta’s hand against the glass leaves you in no doubt of the source of her new found confidence. Small but powerful changes that set the scene perfectly for Hytner’s most striking innovation which, as it reveals itself in the following act, proved to be one of the most thrilling ways to re-infuse excitement into this oft-performed classic. Continue reading “Review: A Midsummer Night’s Dream, Bridge Theatre”
Season 2 of Harlots maintains an impressive run for this excellent series
“You let women do this to you?”
I loved the first series of Harlots when I finally got round to catching up with it recently, so I was keen not to let too pass to tackle Series 2. Inspired by Hallie Rubenhold’s The Covent Garden Ladies, creators Alison Newman and Moira Buffini have done a marvellous job of conjuring and maintaining a richly detailed world that puts women’s experiences front and centre.
The heart of the show has been the burning rivalry between competing madams Lydia Quigley and Margaret Wells, and Lesley Manville and Samantha Morton remain a titanic force as they do battle with each other while simultaneously battling a corrupt patriarchy that would abuse them and their power for a guinea a time. And with its new additions, this second series widens out that focus to incorporate the experiences of other women. Continue reading “TV Review: Harlots Series 2”
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”
“Today is the day we’ve waited for”
The main impetus for finally getting round to booking for the West End transfer of Our Ladies of Perpetual Succour was to balance all the testosterone from the (excellent) all-male Barber Shop Chronicles, And where better to look than the Our Ladies convent in the West of Scotland and the hugely personable story that its wayward student body tell here. You can read my review from the National Theatre and I haven’t much more to add than to say congratulations to them all on the Olivier Award and get booking for one of the more fun parts of the West End right now.
Running time: 1 hour 50 minutes (without interval)
Booking until 2nd September