The National Theatre has announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, the Young Vic and Joshua Andrews’ production of Tennessee Williams’ timeless masterpiece A Streetcar Named Desire featuring Gillian Anderson as Blanche DuBois, Ben Foster as Stanley and Vanessa Kirby as Stella, the NT’s recent production of Dylan Thomas’ Under Milk Wood with Michael Sheen and Nadia Fall’s verbatim play Home that explores homelessness in the UK featuring Michaela Coel. New productions are added each month and since launching in December 2020, there are now 31 productions available to stream on the platform.
It is also announced today some of the productions that audiences can expect to see on the platform in the coming months. Those productions are confirmed to include Antony & Cleopatra with Ralph Fiennes and Sophie Okonedo in the title roles; Hedda Gabler with Ruth Wilson in the title role; Caryl Churchill’s Top Girls in the Lyttelton theatre from 2019; Sally Cookson’s 2017 production of Peter Pan; Yaël Farber’s Salomé and James Graham’s political drama This House, alongside current NT productions; Kae Tempest’s Paradise with Lesley Sharp and Winsome Pinnock’s Rockets and Blue Lights. Ian McKellen on Stage will also join the platform this autumn for audiences outside the UK and Ireland. It is currently available in the UK and Ireland for Amazon Prime subscribers. Continue reading “News: National Theatre adds new productions to streaming platform NT at Home”
The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
“That’s like practically incest”
Neil LaBute’s Reasons to be Happy actually takes the form of a sequel of sorts to his earlier work Reasons to be Pretty, seen at the Almeida in 2011. Reflecting that continuity, director Michael Attenborough returns along with Soutra Gilmour as designer, reprising what looks like the same shipping container and rather oddly, just one of the original quartet of actors. Tom Burke is back as lead character Greg but the luminous lights of Siân Brooke, Kieran Bew and Billie Piper are replaced by Lauren O’Neil, Warren Brown and Robyn Addison.
You don’t need to have seen Reasons to be Pretty to see Reasons to be Happy but it certainly helps as the play picks up three years later on as their tangled inter-relationships have reconfigured into a new and different mess. Greg and Steph are no longer together but a spark still remains between them as evidenced by the blazing row that opens the show, as it did in Pretty. But she’s married to someone else and he’s having it off with her best friend Carly, who is the ex-wife of his best friend Kent who is in turn keen on getting back with the mother of his child. Continue reading “Review: Reasons to be Happy, Hampstead Theatre”
“Calm, methodical, Sunday fucking best”
There’s no two ways about it, Paul Abbott’s latest TV series has been an absolute triumph. Channel 4’s No Offence has kept me properly gripped over the last eight weeks and I’m delighted that a second series has already been commissioned as its enthralling mixture of comedy drama and police procedural has been irresistible from its opening five minutes with all its squashed-head shenanigans through to its thrilling finale which kept us on tenterhooks right til its final minutes.
Whence such success? A perfect storm of inspired casting and pin-sharp writing from Abbott and his team. Joanna Scanlan’s DI Viv Deering reinvigorates the stereotypical police boss to create a career-best character for Scanlan, her fierce loyalty played straight but her dry one-liners making the most of her comic genius. Elaine Cassidy’s DC Dinah Kowalska, the eager young copper on whom the focus settles most often, Alexandra Roach’s earnest but quick-learning DS Joy Freer completing the leads. Continue reading “TV Review: No Offence, Channel 4”
“Now is the winter of our discontent”
Like an addict that really should know better, I held out from seeing Richard III for the longest time, safe in the informed knowledge that I most probably wouldn’t like it. But sure enough when a ticket became available for the final matinée performance, off I obediently trotted to that most uncomfortable of theatres Trafalgar Studios for the latest instalment in Jamie Lloyd’s Trafalgar Transformed season. And guess what, I didn’t like it.
Clearly my opinions had already been shaped by friends and colleagues reassuring me it really wouldn’t be my cup of tea but the lure of a good cast is always strong and in some respects, this was true. Gina McKee’s defiant Queen Elizabeth, Jo Stone-Fewing’s oleaginous Buckingham, Maggie Steed’s mad Queen Margaret all emerge with credit but in the title role, Martin Freeman is much more of a debit, offering up a decent enough performance but one lacking any real gravitas. Continue reading “Review: Richard III, Trafalgar Studios”
Poly over at The Other Bridge Project asks the question “can you have too many King Lears” and though she’s adamant that you can’t, I have to say my heart sinks a little every time a new production is announced, whether here in Chichester with Frank Langella or Simon Russell Beale’s forthcoming turn for the National Theatre early next year. But the enduring reputation of Shakespeare’s late classic attracts the kind of casts that are irresistible to a theatrical junkie like me and so I find myself a glutton for punishment going back again time after time.
And though I’d love to say that Angus Jackson’s production, running just a short while in the Minerva before transferring to New York, was worth the effort, it didn’t really do it for me. It is a hugely Lear-centric version of the play, placing Langella’s titanic monarch even more at the heart of the play than usual, and recalibrating the journey he takes as madness seizes him after a bit of a rum do with his three daughters. It’s a striking move, and one which showcases Langella well, but it does come at the expense of the richness of the ensemble.
“Looking at pictures never hurt anyone”
Alongside the Weekly Rep season, another of the major innovations at the Royal Court as part of their Open Court summer is the notion of Surprise Theatre. Here, the upstairs space has been taken over on Mondays and Tuesdays and tickets sold without any information being given about what is to be performed. An ambitious move to be sure but one which clearly paid off as the run soon sold out – but even with the assurance of a quality programme, I have to admit to not being willing to take the risk. I like to be able to have the choice of how I spend my money and my time.
Perhaps with an eye on this, or just acknowledging the limited number of tickets for the smaller theatre there, many of the pieces of theatre have been made available on their YouTube channel – the performances themselves filmed from a standing camera, and allowing many more people to experience the surprise. A good thing, one may think, but having watched one of them – the performance of Sarah Daniels’ 1983 polemic against pornography Masterpieces – I’m not 100% sure it is the most successful of enterprises. Continue reading “Review: Masterpieces, Royal Court Surprise Theatre via YouTube”
“We have traditions, gentlemen’s agreements…things to help us to the best we can”
It’s always nice when karma works out in your favour. A clash in the schedule meant that I had to return my original ticket for This House and as the run was completely sold out, I was doubtful that I’d get to see the show. But as it turned out, standing tickets in the pit had just been released and so for the princely sum of £5, I was able to take in an early preview of James Graham’s new play for the National Theatre.
Set in the halls of Westminster across the incident-ridden 1974-1979 parliament, This House occupies that strange ground of fictionalised reality that so many playwrights seem to love. Graham has taken inspiration from the real events of the time – the hung parliament, economic crises, changes in leadership and a surprisingly high mortality rate among MPs – and created his own version of events. His focus lies with the whips on both sides and it is from their perspective that we see events occur, as they troubleshoot left, right and centre, struggle to control their wayward members and do deal after deal with their opposing counterparts, observing the age-old traditions and principles that serve in place of a constitution. Continue reading “Review: This House, National Theatre”
“I don’t like it when he calls it a movie”
Perhaps I am more ignorant of Jewish terminology than I ought to be, but I do find it a little surprising that the blurb for Nicholas Wright’s new play for the National Theatre, Travelling Light, simply states that it takes place in “a shtetl in Eastern Europe”. I’d no idea what a shtetl was, didn’t notice any explicatory reference in the text and over the last couple of days have asked a few people, none of whom knew either. The internet informs me it is a small town with a largely Jewish population, but it does seem an odd assumption of knowledge to make (or perhaps it is just indicative of how few Jewish friends I actually have…) In any case, that this is the detail that sticks most in my mind after seeing the show is indicative of how little I cared for it.
Set in the early 1900s, the play – still in previews – centres on Motl Mendl, a young Jewish photographer whose dreams and ambitions as he discovers the burgeoning art form of motion pictures set him on a path that will see him end up in Hollywood. But before he makes it big, he needs to extricate himself from domestic village life and that is easier said than done as they are a group of real ‘characters’ one and all. Chief among these is Jacob Bindel, an illiterate timber merchant who is so enthused about the potential of film-making that he stumps up the money needed to keep Motl from emigrating (for the time being at least) and to make a movie in their very own village. Or shtetl. Continue reading “Review: Travelling Light, National Theatre”