Tristram Kenton’s latest deep dive into his archive revisits productions that took place in non-traditional spaces, from palaces and cathedrals to high streets and ice rinks.
Photos: Tristram Kenton
The National Theatre, in partnership with Bloomberg Philanthropies, has today launched National Theatre at Home, a brand-new streaming platform making their much-loved productions available online to watch anytime, anywhere worldwide.
Launching today with productions including the first ever National Theatre Live, Phèdre with Helen Mirren, Othello with Adrian Lester and the Young Vic’s Yerma with Billie Piper, new titles from the NT’s unrivalled catalogue of filmed theatre will be added to the platform every month.
In addition to productions previously broadcast to cinemas by National Theatre Live, a selection of plays filmed for the NT’s Archive will be released online for the first time through National Theatre at Home, including Lucy Kirkwood’s Mosquitoes with Olivia Colman and Inua Ellams’ new version of Chekhov’s Three Sisters (a co-production with Fuel). Continue reading “News: NT launches new streaming service National Theatre at Home”
“I choose to take back my life.
Booking a return trip to anything Helen McCrory is starring in is something of a reflex action now but I was more pleased than usual to be able to revisit Medea as conversations with numerous of my friends who were not fans had left me questioning whether I had maybe over-rated the show on first viewing. And it was equally nice to find out that I had not. I can see why elements of Carrie Cracknell’s production might have been polarising but for me, the synergy between the different disciplines is alchemical.
From jerky dancing to Goldfrappian swells of music, luxury cameos through to an actor magisterially making her mark on an oft-played role to dominate the vast auditorium of the Olivier, it’s a Medeafor our time and so it was entirely correct that this performance should be part of the NTLive programme and be broadcast to cinemas across the world. Spine-chillingly remarkable stuff and that’s all I really have to say!
Running time: 100 minutes (without interval)
Photo: Richard Hubert Smith
Booking until 4th September
““Terrible things breed in broken hearts”
Euripides’ Medea has long been considered one of the greatest roles for a woman to play so it is a little surprising (or perhaps not) that it hasn’t been performed at the National Theatre before. But the winds of change blow even on the South Bank so it makes great sense that one of our finest living actresses, Helen McCrory, should take on the part in a production by Carrie Cracknell, herself responsible for making some of that change with recent shows like A Doll’s House and Blurred Lines.
Ben Power’s new version relocates the betrayed Medea in a blasted contemporary setting (another ingeniously cracking design from Tom Scutt, evocatively lit by Lucy Carter) where she and her two children anxiously await news of the husband and father who has abandoned them for a newly politically expedient marriage. Trapped in a foreign land, having severely burned her bridges with her homeland, we watch helplessly along with a hefty Greek Chorus as grief inexorably transmutes into anger. Continue reading “Review: Medea, National Theatre”
“I share no-one’s ideas, I have my own”
Another day, another tale of people languishing in the dying embers of Imperial Russia, but Fathers and Sons – Brian Friel’s 1987 adaptation of Ivan Turgenev’s 1862 novel – has something special about it, which makes it truly stand out from the crowd. Much of this has to do with Lyndsey Turner’s sterling production for the Donmar, her gift for marshalling large ensembles to the absolute best of their abilities coming to the fore once again and smoothing over any potential weaknesses in the play itself.
Pace sometimes flags, with narrative description dominating a little too much in the second act and too many characters for them to all to really register. But such caveats pale in the face of performances like these – Joshua James’ would-be revolutionary Arkady and Anthony Calf as his hapless father, Seth Numrich’s more radical Bazarov and his own father played beautifully by Karl Johnson, Susan Engel’s vividly drawn Princess, Tim McMullan’s hilarious fop of an uncle, it’s an embarrassment of riches.
Running time: 2 hours 20 minutes (with interval)
Booking until 26th July
“Keep your masks on and remain silent at all times”
Such is the instruction as you enter the cavernous former Royal Mail sorting office in Paddington which has been transformed by the Punchdrunk team into Temple Studios, the venue for their biggest show to date – The Drowned Man: A Hollywood Fable. If you’ve been to a Punchdrunk show before, then this will come as no surprise to you (the masks are just as uncomfortable for glasses-wearers); if it is your first, then you should be prepared for something completely different (the masks will still be hot and uncomfortable!)
Co-directors Felix Barrett and Maxine Doyle are genuine pioneers of the style of site-specific immersive theatre that seems almost everyday now, yet their ethos is one which still manages to surprise people. They’re in the business of theatrical experiences rather than regular plays and so one should never approach one of their shows looking for traditional presentations of conventional narrative. Instead, the onus is on the audience to locate their own journey through the world that has been created, and find their own unique adventure. Continue reading “Review: The Drowned Man – A Hollywood Fable, Temple Studios”
“You know, Aslan, I’m a little disappointed in you”
Aiming to be one of the theatrical events of the summer (although it has always seemed more of a Christmassy story to me), Rupert Goold has turned his customary directorial flair to his own adaptation of CS Lewis’ quintessential English classic The Lion, the Witch and the Wardrobe. But in choosing to mount this production in the threesixty theatre in the grounds of Kensington Gardens, a rather unforgiving purpose-built circular tent, the show faces an uphill struggle from the start to try and create the sense of theatrical magic and wonder that is needed to transport us through the wardrobe along with the four Pevensie children. NB this was a preview performance.
The show is clearly aiming to be a family-friendly spectacular, the varied inhabitants of Narnia are evoked through a cross between Lion King puppetry and Cirque du Soleil physicality – imaginatively done if that’s your sort of thing, though readers of this blog will know it is not mine, at all – but the soulless atmosphere of the space leads to a rather sterile feel which the cast rarely overcome. Even Adam Cork’s music fails to get the pulse racing (the website says ‘the production is a play but does feature some live music and a pre-recorded fully orchestrated soundtrack’ so we’re clearly in “play with songs” territory rather than fully fledged “musical”) as the rather anodyne songs make little lasting impression and the muddy sound design meant there was precious little lyrical clarity. Continue reading “Review: The Lion The Witch and The Wardrobe, 360 Theatre”
The Revenger’s Tragedy is a Jacobean revenge play of dubious authorship but these day, attributed to Thomas Middleton. It is set in a decadent Italian court full of moral decay but in Melly Still’s new production here at the Olivier auditorium in the National Theatre, it has taken on a whole new lease of life.
The story is full of backstabbing intrigue and intricate plotting which required a lot of attention. Vindice is our hero of sorts, but he is determined to be revenged on the Duke, as whilst he’s seemingly a fine upstanding type, actually raped and pillaged the fiancée of Vindice a few years back. His home life is a little eventful too, his Duchess is a narcissistic, sexually voracious, hedonist who is lusting after her husband’s bastard son; and their other sons are a motley crew of bad’uns. One of them, the handsome Lussurioso, has decided to buy a lovely young woman from her mother, but she turns out to be the sister of Vindice. Thus, the scene is set for a strange mix of tragedy and comedy as we hurtle to the oh so very bloody climax. Continue reading “Review: The Revenger’s Tragedy, National Theatre”