The National Theatre today announces plans to reopen in June, welcoming audiences back to the South Bank for the first time since closing last December. The Olivier and Dorfman Theatres will reopen in June 2021 with Dylan Thomas’ Under Milk Wood and new play by Jack Thorne After Life. Continue reading “News: Olivier and Dorfman Theatres to reopen in June 2021 with Under Milk Wood and After Life”
National Theatre at Home continues its home programming with both versions of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller and Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo, plus there’s a National Theatre at Home Quiz
Following on from the success of its opening set of transmissions – One Man, Two Guvnors was viewed over 2.5 million times in the week it was available – the National Theatre has announced the next two productions it will be airing as part of National Theatre at Home. 2011’s Frankenstein with Benedict Cumberbatch and Jonny Lee Miller sharing its two main roles and 2018’s Antony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo.
Both productions will be free to stream, premiering at 7.00PM BST and then available on demand for seven days. Further productions to be streamed as part of National Theatre at Home will be announced soon.
Today also sees the launch of the National Theatre at Home Quiz, to be played from home featuring familiar faces from the world of stage and screen as the quizmasters. Each quiz will include rounds of five questions on a wide variety of topics.
On the final Monday of each month people will be able join the virtual quiz directly from their homes via the NT’s YouTube channel and Facebook page live at 7pm. The first quiz will be on Monday 27 April with quizmasters Dame Helen Mirren, Sir Lenny Henry, Lesley Manville, and Sir Ian McKellen asking questions on topics including history, sport, nature, and of course, the National Theatre (bagsy team Manville).
Stefan Golaszewski’s Mum goes out on an absolute high with a glorious third and final series with Lesley Manville and Dorothy Atkinson never better
“I think this will be an interesting week”
Any TV series starring both Lesley Manville and Sam Swainsbury has clearly been specifically designed for me and me alone, and so I choose to take Stefan Golaszewski’s decision to end Mum after this third series extremely personally. Problem is, the guy knows exactly what he is doing, as this glorious series really did go out on a high.
It’s taken me a little while to get around to watching it. I adored the first series, and the second, and I just wasn’t ready to say goodbye. But given her return to the stage at the National, it felt like as good a time as any to indulge in a Manville marathon. And you can watch this entire series in less than the running time of The Visit, without even having to get dressed, so everyone’s a winner. Continue reading “TV Review: Mum Series 3”
I wanted to like Mike Leigh’s Peterloo, I really did…
“You must be famished coming all the way from Wigan”
I’ve been a big fan of Mike Leigh’s film work, since discovering it in the last decade or so, and loved his last film Mr Turner. So news of his return to period drama, albeit through his idiosyncratic process, in Peterloo was a plus for me. The reality though is an epic that proved a real slog for me, even boring by the end. Continue reading “Film Review: Peterloo (2018)”
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
A contemporary adaptation of King Lear does little to prove its worth on BBC Two
“Some villain hath done me wrong”
A belated visit to this Bank Holiday TV offering and one I should probably have left alone. I’m not the biggest fan of King Lear, nor of Anthony Hopkins if I’m honest. But the notion of a contemporary adaptation and a deluxe level of supporting casting was enough of a draw for me to give it a try.
A co-production between the BBC and Amazon, this Lear has been adapted and directed by Richard Eyre. Trimmed down to a scant couple of hours and located in a contemporary England, it clearly has its eye on new audiences as much as your Shakespearean buff, and I’d be intrigued to know how the former reacted. Continue reading “TV Review: King Lear, BBC Two”
A hugely successful return for Stefan Golaszewski’s BBC sitcom Mum, with world-beater Lesley Manville in brilliant form once again
“Three types of potato – are you out of your fucking mind?”
I’m not sure what we’ve done to deserve Stefan Golaszewski’s Mum but I’m sure as hell glad that we have it. The second series of this BBC sitcom has now drawn to a close and it is hard not to think that it isn’t one of the most magnificently perfect bits of television out there, surpassing even the heights of the superlative first season.
Starring Lesley Manville and Sam Swainsbury as it does, it could well have been machine-tooled to appeal to my Venn diagram of all Venn diagrams. But Mum is so much more than my varying crushes, it is a supremely well-calibrated piece of heart-breaking and heart-warming writing that finds its humour in that most British of ways, through adversity. Cathy’s husband and Michael’s best friend may have died a year ago but their attempts to move on, to maybe explore their mutual, unspoken attraction are constantly frustrated by the clod-hopping presence of her extended family at every beat. Continue reading “TV Review: Mum Series 2”
“What did you expect?”
After a hugely successful run at the Old Vic, Girl From The North Country transfers to the Noël Coward with the majority of its cast and all of its melancholy soul intact. Seeing Sheila Atim transform ‘Tight Connection To My Heart’ into the most heartfelt of laments was one of my highlights of 2017 and seeing it once again made me feel like it could easily be one of the highlights of 2018 as well.
Her performance is symptomatic of what makes this show so fantastic. The secret weapon in Conor McPherson’s production is the arrangement of the Bob Dylan songs by Simon Hale, an interpretative masterstroke which weaves the music into the very fabric of these people’s lives. (Though whether that makes this a musical remains anyone’s guess.)
Conor McPherson’s Girl From The North Country was an absolutely glorious thing at the Old Vic this summer and I’m pleased to see that its relatively slow-burning success has translated into a West End transfer. It is also gratifying to see that many of the original cast of this Bob Dylan musical (or play with songs if you’re precious like that) are remaining with the production, especially Shirley Henderson and Sheila Atim, who I suspect we should be looking out for come awards season. Continue reading “Cast for the West End transfer of Girl From The North Country announced”
“’Tis the time’s plague when madmen lead the blind”
Though no spring chicken myself, I’m not quite the right age to be truly excited about Oscar winning actress-turned politician-turned actress again Glenda Jackson’s return to the stage. I was more intrigued than truly excited when she was announced in the title role of Deborah Warner’s King Lear for the Old Vic for though I’m well aware of who she is, her film and TV credits never broke through into what I was watching either back then or since. (Feel free to recommend her must-see performances – I’ll add them to the list of things I’ll get round to watching one day.)
But I’m always here for casting decisions that shake the established order somewhat and with Celia Imrie, Jane Horrocks and Rhys Ifans in the cast too, there was no chance I wouldn’t go see this. Full disclosure though, I went to the final £10 preview so treat this review how you will. For it is simultaneously an effortful and frustratingly vague production that never truly convinces of the attempted scope of its artistic vision. Fortunately, this often-times ephemeral and occasionally perplexing Lear is anchored by a striking performance from Jackson. Continue reading “Review: King Lear, Old Vic”