The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
Episode Two of The Theatre Channel takes its Halloween theme and has a ball with it, with brilliant performances from the likes of Linzi Hateley, Jordan Shaw, Bradley Jaden and Sophie Isaacs
“It’s a matter of time before London belongs to us”
After a highly successful debut, Episode 2 of The Theatre Channel arrives and things have gone a bit Strictly with a theme week. Natch it is Hallowe’en that acts as a linking thread between the performances here but unlike Strictly, it is pleasingly effective as the production design (by Gregor Donnelly) gets to play with a more cohesive visual language across the show (credit too to director Bill Deamer and DP Ben Hewis), and the song selection gets to go a bit dark and dramatic.
That’s not to say that there’s not a variety of tone here. As befits this holiday, there’s a healthy dose of camp as a CGI-enhanced Ria Jones casts her spell over Into the Woods’ ‘Last Midnight’ and the camp drama of Frank Wildhorn’s ‘Life After Life’ from Dracula the Musical is well served by the relatively straight bat and sensational voices of Bradley Jaden and Sophie Isaacs. The same goes for Josh Piterman’s dangerously seductive take on ‘The Confrontation’ from Jekyll and Hyde. Continue reading “Review: The Theatre Channel – Episode Two”
I wasn’t going to write up Turn Up Londonbut in the end, it was just too darn good to leave unremarked. I’m just going to whip through my highlights though, and urge you to stay tuned for any future for this excellent and essential project. Continue reading “Review: thoughts on Turn Up London”
Theatrical superstars Sharon D. Clarke, Noma Dumezweni, Clive Rowe, Kwame Kwei-Armah, Johnnie Fiore, Brenda Edwards, Zaris-Angel Hator, Rachel Adedeji, Aisha Jawando, Norm Lewis, Brittney Johnson, Brandi Chavonne Massey and Joe Aaron Reid and more join the lineup for TURN UP! , a live stream event supporting the Black Lives Matter movement.
The live stream event is streaming for The Bail Project, The Okra Project, The Black Curriculum and UK Black Pride – in support of the Black Lives Matter movement.
Black voices from across the West End, Broadway, activism, community leadership and beyond will unite at TURN UP! to raise funds and awareness for four charities – The Bail Project, The Okra Project, The Black Curriculum and UK Black Pride – in support of the Black Lives Matter movement.
A trio of album reviews cover the (relatively) recently released cast recordings of Company, Follies and Mythic
“One more souvenir of bliss”
I adored Marianne Elliott’s reinterpretation of Stephen Sondheim and George Furth’s Companyon my many visits and so the news of a cast recording was of course ecstatically received. And perhaps inevitably it doesn’t quite live up to the thrill of seeing it live but maybe that’s because the production is still so fresh in my mind. I mean we’re only talking a 4 instead of a 4.5…
I swear Patti LuPone’s ‘Ladies Who Lunch’ was different every time I saw it but this version here is as good as any, with the glorious fullness of her voice pointedly sharpening its wit. Her contributions to ‘The Little Things We Do Together’ are inspired, Jonny Bailey’s ‘Not Getting Married’ is breathlessly affecting and the warmth of Rosalie Craig’s character and voice infuse the whole experience with real quality. Continue reading “Album Reviews: Company / Follies / Mythic”
Way down in Hadestown at the National Theatre is one of the best musicals of the year
“Damned if you don’t. Damned if you do. Whole damn nation’s watching you”
I loved Hadestown so much that I had booked to see it for a second time before I even got home from the first. Read more about that trip here, including me trying the National’s new smart caption glasses, and read on for a review that focuses properly on Anaïs Mitchell’s brilliant musical here. An adaptation of the tale of Orpheus and Eurydice, developed with director Rachel Chavkin, it riffs on the myth by relocating the action to a dive bar in the Deep South and redefines hell for our capitalist age. And they fill the Olivier with music, such music, that transforms Hadestown into the kind of experience that lingers long in the mind.
Mitchell’s score succeeds so much because it establishes such an identity for itself that it dares you not to be seduced into the world of the gods, or at least New Orleans. At its best, its simply elemental – ‘Way Down Hadestown’ has the kind of tune that sounds like it has always existed and will not quit your brain anytime soon. And as you collect the influences – hints of Jason Robert Brown on ‘All I’ve Ever Known’, the Johnny Cash-esque call and response of ‘Why We Build The Wall’, the straight up musical theatre emotion of ‘Wait For Me”s chorus, to name but a few – you realise a new form of Americana has evolved here. Continue reading “Review: Hadestown, National Theatre”
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology
“Eurydice knew how to survive Orpheus…knew how to live”
The exceedingly kind folk of the National Theatre allowed me to go and see Hadestown a few days after the press night, as I was most keen to have a try of the Smart Caption Glasseswhich were brought into circulation on Friday. Acclaimed as “a revolutionary new way for people with hearing loss to enjoy performance”, for once the blurb more than lives up to its billing as I found them to be truly innovative and potentially life-changingly good.
Without wishing to open a whole can of worms about access and diversity within the critical community, it has to be said that as a (deaf) reviewer, I never get to go to captioned performances. If and when they’re scheduled, the timetables just don’t allow for it, so – as in most of my daily life – I make do. I hear what I hear and guess the rest. So the idea of this facility becoming available was one I was most keen to investigate at the earliest opportunity.Continue reading “Review: Hadestown, via smart caption glasses at the National Theatre”