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”
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”
Written by Eileen Atkins, Vita and Virginia doesn’t quite capture the intensity of this iconic love affair
“When was the moment of your greatest disillusionment?
‘The first time I saw a penis'”
I didn’t know that Eileen Atkins had written a play about Vita Sackville-West and Virginia Woolf but given that it dates back to 1992 and hasn’t been much – if at all – revived, I could perhaps be forgiven. It is that play Vita and Virginia that she has adapted for the screen with Chanya Button, who also directs, and something of its theatrical nature remains.
Based on their copious letters to each others, Vita and Virginia is perhaps inevitably wordy and this isn’t always a great thing in a film. Set as it is in 1920s bohemian London, you might expect the vibe of a decadent whirl and for a while at least, thanks in large part to Isobel Waller-Bridge’s effectively anachronistic score, this is a most seductive party. Continue reading “Film Review: Vita and Virginia (2018)”
I loved Clare Barron’s Dance Nation at the Almeida but fear it might not get the audiences it deserves
“People don’t say they cry when they watch me dance.
When they watch Amina dance, they cry. I know.
Because I cry when I watch Amina dance.”
I saw a late preview of Dance Nation at the Almeida so I was going to hold off saying much about it. But the hypocrisy of Quentin Letts’ tweet about the show (search on Twitter if you must) roused me to action for it is a pretty damn fine piece of writing by US playwright Clare Barron, and a damn fine piece of theatre directed by Bijan Sheibani.
It uses the device of adults playing kids to delve into the world of competitive high school dance, investigating what it is like to be a 13 year old girl, to be caught up in the ferocity of cut-throat contest whilst also navigating the physical and emotional upheaval of becoming a teenager. It’s blistering, uncompromising stuff and so it is perhaps little surprise that it has ruffled the feathers of some terribly sensitive souls. Continue reading “Review: Dance Nation, Almeida Theatre”
#1 in the National Theatre’s Queer Theatre season of rehearsed readings
“My God, I wanted three daughters like the Brontes and I ended up with a family fit for a Channel Four documentary”
There was a special currency for Sarah Daniels’ Neaptide being the opening play in the #ntQueer season as this 1986 drama was actually the first by a living female playwright at the National Theatre – an astonishing fact all told. And it is perhaps sadly predictable that Daniels now finds herself somewhat neglected as a writer, despite being prolific in the 80s and 90s.
Neaptide proved a strong choice too, a powerful exploration of the extent to which lesbian prejudice permeated society and institutions even as late as this, and indeed how little we’ve moved on – in some ways. Daniels presents us with three generations of lesbians and explores how they deal with working or studying at the same school when a scandal threatens to upturn all of their lives. Continue reading “Review: Queer Theatre – Neaptide, National Theatre”
“It would make angels mourn”
Perhaps fittingly, on an evening when beautiful tribute was paid to the late Howard Davies, whose invaluable contribution to the National Theatre (36 productions over 28 years) will sorely be missed, there’s a sense of the passing of the guard with director Michael Longhurst making his main stage debut in the South Bank venue. Longhurst has been establishing himself quite the reputation (Constellations and Linda at the Royal Court, Carmen Disruption at the Almeida, A Number at the Nuffield, an extraordinary Winter’s Tale earlier this year, and the brilliant The Blackest Black at the Hampstead, to name just a few) and his graduation here feels entirely earned.
He makes his bow with Peter Shaffer’s Amadeus, a play that premiered at this very theatre in 1979 (another sad loss, as Shaffer passed away this summer) and with the enviable resources to hand here, mounts an excellent production. The play depicts a largely fictionalised version of the intertwined lives of composers Wolfgang Amadeus Mozart and Antonio Salieri and their rival careers, and the Southbank Sinfonia are on hand to provide live orchestral accompaniment. So that when The Marriage of Figaro is premiered, we get an excerpt; when people read the sheet music, we don’t have to imagine the notes of the page, we hear them out loud. Continue reading “Review: Amadeus, National Theatre”
“What does getting older mean for a woman?”
There was a point in this performance of Linda where Noma Dumezweni’s eponymous character made an actual risotto, and a bowl of pasta and a sauce for her fussy daughter, all whilst performing script in hand and still somehow ruling the stage of the Royal Court. She was on-book because she was a very last minute replacement for Kim Cattrall (who withdrew on medical advice with just two rehearsals left) but even in this short space of time, there’s a magisterial sense of character brimming from this finest of actors (who’s also preparing for her directorial debut early next year in the upstairs theatre!)
And demonstrating just how capable she is fits in perfectly with Skinner’s larger themes – Linda Wilde is a 55 year old determined not to slip quietly into the background as society suggests, and expects, older women should (apart from Helen Mirren that is…). A marketing guru at a top beauty firm, married to the pleasant Neil and mother to two daughters Alice and Bridget, she’s been spinning the various plates of her life successfully for some time now but the centre of gravity in her world has shifted imperceptibly, forcing a reckoning all around. Continue reading “Review: Linda, Royal Court”
“I feel like I’ve been running my whole life from this”
Cohu’s biggest TV show of recent times is probably Lightfields, conceived as a follow-up to the rather successful Marchlands of a couple of years ago, and occupying very similar ground of supernatural phenomena haunting the same property through different time periods. A remote farmhouse in Suffolk is the setting, the building named Lightfields, and as a young woman dies in mysterious circumstances in a wartorn 1944, the repercussions are felt by a mother and daughter who stay there for the summer in 1975 and also by the family who are running it as a bed and breakfast in 2012. The ghosts of the past weigh heavily on all concerned as in all three eras, the search for the truth as to what happened puts several people in danger.
I really enjoyed Marchlands so I was a little sceptical to hear that a sequel of sorts had been planned one which seemed to repeat the same format. And though it was mostly enjoyable to watch, I did find it to be not quite on the same level as its predecessor. For a start, it had far too many characters in the 1944 slot alone, I couldn’t get a bearing on who was who even when they were right in front of me, never mind when older versions of them appeared in the later time periods – I felt like I needed to write down a list of everyone as it always felt overly cluttered, with too many story strands feeding into both the 1944 and 2012 slots and leaving the overall feel of the programme as rather confused. Continue reading “TV Review: Lightfields”