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”
Linda Bassett and John Heffernan have been cast in Caryl Churchill’s new play What If If Only, which will be directed by James Macdonald. With set design by Miriam Buether, lighting design by Prema Mehta, sound design by Christopher Shutt and assistant direction from Grace Duggan.
What If If Only will run in the Royal Court Jerwood Theatre Downstairs from Wednesday 29 September 2021 – Saturday 23 October 2021. Performances run Monday – Saturday at 6pm, plus Friday 8, 15 & 22 October 2021 at 10pm. The running time is a lush 14 minutes. Continue reading “August casting update”
Series 2 of Ted Lasso looks like it is continuing the success of the first, plus with added Sarah Niles
“Jan Maas is not being rude, he’s just being Dutch”
The first series of Ted Lasso was a real lockdown boon, a perfectly bittersweet heart-warmer that showed the best way that American people can do shows about football is by making them about something else altogether – in this case, being a thoroughly decent human being.
This Apple TV show treads the line between being unbearably twee and really very touching with real skill, and this second series looks set to continue that trend as AFC Richmond deal with relegation, life in the Championship and the presence of a sports psychologist in their midst. Continue reading “TV Review: Ted Lasso, Series 2 Episodes 1+2”
Katherine Kelly’s lead performance is excellent but I’m not sure there’s enough here to justify reviving Innocent into an anthology series
“Everything they stole from me, I want it all back”
Three years after its first series, Matthew Arlidge and Chris Lang’s Innocent returns to ITV, re-emerging as an anthology series. So we’re now in the Lake District, focusing on the murder of 16-year-old Matty Taylor for which teacher Sally Wright has done several years inside. Five years down the line, new evidence has exonerated her and laced with vengeance, she returns to Keswick to reclaim what she believes is hers.
Initially, it’s an intriguing twist on the format as Katherine Kelly plays Sally with all the spikiness and rough edges that you would expect from someone who believes they’ve been wrongfully imprisoned. Removing children from the equation, which instantly created sympathy for Season 1’s ‘victim’ David, there’s a more visceral sense of injustice permeating this narrative, which is paired with Kelly’s impassive forthrightness as Sally. Continue reading “TV Review: Innocent (Series 2)”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
I like spy dramas, and Sarah Woodward and Sirine Saba, but The Haystack, at the Hampstead Theatre, is not the one
“Yes, we’re geeks, yes, we sit at computers all day, yes, we barely leave Cheltenham, but we are still, when it comes down to it, spies”
Running time: 2 hours 45 minutes (with interval)
Photo: Ellie Kurtz
The Haystack is booking at the Hampstead Theatre until 12th March
Gentleman Jack proves a huge success, for Sally Wainwight, for Suranne Jones, for lesbian storytelling, for everyone
“So much drama, always, with Anne”
Even with as reliably assured hands as Sally Wainwright’s at the tiller, I was a little nervous for Gentleman Jack in the pride-of-place Sunday evening TV slot. But I should have been surer of my faith, for it has been a stonkingly good 8 hours of drama, with an epically romantic lesbian relationship at its heart.
Anne Lister (Suranne Jones) is a wealthy Yorkshire heiress whose uncompromising nature about any and every aspect of her life rubs any number of people up the wrong way. Ann Walker (Sophie Rundle) is most definitely not one of them though, she wants to be rubbed the right way and so we follow the path of true love as it winds through the prejudices of the Yorkshire Pennines and Anne’s attempts to break into the coal mining world. Continue reading “TV Review: Gentleman Jack Series 1”
Caryl Churchill’s superb Top Girls receives a luxurious but clear-sighted production from Lyndsey Turner at the National Theatre
“They’re waiting for me to turn into the little woman”
Written by a woman and directed by a woman, the opening night of an all-female play couldn’t have been better timed for the National Theatre. But while this doesn’t negate the concerns raised in the too-male-heavy partial season announcement from last week, it does frame them – and the questions it provokes – in a larger context. After all, Lyndsey Turner’s production of Caryl Churchill’s Top Girls is the first not to use double-casting, which means it boasts a company of 18 women – more of this please.
It helps that they are performing such a bravura piece of writing. Churchill’s 1982 play is a shrewd and startling affair which has lost none of its impact here as it gives women their voices in ways which haven’t always (and in some ways still don’t) been encouraged. From historical characters (both real and imagined) to contemporary families (it may be set in the 80s but there’s nothing dated about what is happening here), we are dared to listen. Continue reading “Review: Top Girls, National Theatre”
It continues to be grim up north. Especially if you’re gay – The York Realist comes to the Donmar Warehouse.
“It was very Yorkshire wasn’t it, not that I mind”
I’d decided not to bother with the Donmar Warehouse’s production of The York Realist and such is karma, I found myself offered a ticket on a night when I had nothing but laundry planned. And so off to Covent Garden for gay northerners I went.
I first saw the play in the first year of my blogging life, in a production at the now-defunct Riverside Studios, but I would be lying if I said I could remember too much about it (that’s why I blog, so I don’t have to remember!). By all accounts, I was well out of whack with those who declare it a modern classic… Continue reading “Review: The York Realist, Donmar Warehouse”
“There is only one way of treating men, with the iron hand … yield one demand and they will take six”
The list of the NT2000 top 100 plays is an interesting one, full of the sort of plays I wouldn’t ever have chosen to see and so using it as a guide to stretching my theatrical viewing has been illustrative. Which is a roundabout way of saying the latest play I wouldn’t necessarily have chosen for myself that I went to see was John Galsworthy’s 1909 Strife at the Minerva in Chichester, incidentally marking Bertie Carvel’s directorial debut.
Set around an industrial dispute at a Welsh tinplate works where a strike has been running for six months, Strife examines the stresses this places on all concerned. The workers, who don’t have the support of their union; the board, who have travelled from London to thrash out a compromise; and the firebrand leaders of each faction who might not be so different as all that, each equally stubborn in refusing to budge from their position. Continue reading “Review: Strife, Minerva”