Ahead of National Theatre at Home’s one year anniversary on 1 December, the National Theatre has today announced the next filmed productions to be added to the streaming service, which is supported by Bloomberg Philanthropies.
Joining the platform today is Simon Godwin’s critically acclaimed 2018 production of Antony & Cleopatra in the Olivier theatre, with Ralph Fiennes and Sophie Okonedo playing Shakespeare’s famous fated couple. Then the iconic and multi-award-winning production of War Horse, based on the novel by Michael Morpurgo, will be available from 1 December until 31 January 2022 on demand internationally for the first time since its premiere 14 years ago. It will be available with British Sign Language, audio description and captions. Continue reading “News: One year of National Theatre at Home – New titles added”
I’ve loved these deep dives into Tristram Kenton’s photo archive on the Guardian and with this selection from the Royal Court, there’s a lovely reminder of so many great productions (plus some that got away):
Photos: Tristram Kenton
I can’t work up much enthusiasm for the first episode of this third series of Sky Atlantic show Fortitude
“I’m not putting that in my notebook”
The first series of Simon Donald’s Fortitude was a revelation as its ricocheting from style to style cohered into something most effective so Sky Atlantic’s to commission a second was not unexpected but nor was it successful. So it was something of a surprise to discover a third season was in the works but at just four episodes long, to wrap the story, it might just do something to right those wrongs.
On the evidence of this first episode though, I’m not too sure. The mythos of the show has become so convoluted and depressingly nasty that it is hard to work up the enthusiasm for the trials of these (fool)hardy residents in the far north of Arctic Norway. The wasps with their prehistoric parasites are still causing all kinds of trouble for everyone as more and more people are changed and made more violent and, well, watch this space…
“You have to face the consequences now”
It’s taken me an age to get round to finishing Ordeal by Innocence, the latest in the BBC’s series of hugely successful Agatha Christie adaptation from Sarah Phelps. I watched the first part when it aired at Easter and quite liked it but for some reason, the remaining two got stuck on my ‘to-do’ list.
And having finally watched them, I have to say I found myself a little disappointed. Not being familiar with the story, the major plot alterations had no impact on me and if we’re honest, the replacement of actor Ed Westwick by Christian Cooke had little discernible effect (aside from the obvious delay). Continue reading “TV Review: Ordeal by Innocence, BBC1”
And now people are dying again and what the fuck are they doing about it”
Series 1 of Fortitude was one of those genuinely unexpected dramas which unveiled its genre-spanning ways with some proper jaw-dropping moments, so Sky Atlantic’s decision to commission a second series wasn’t entirely unexpected (though you do wonder what viewing figures are like over there). Though having revealed itself as a sci-fi/horror/psychological thriller/serial killer murder mystery with political and environmental themes thrown in for a good measure, creator Simon Donald was faced with a decision about which way to go to continue the story.
Or, as it turned out, he didn’t make the decision but rather decided to pursue them all once again. And as is proving a recurring theme with shows I’ve been catching up on (Fearless, The Halcyon), the desire to develop multi-stranded complex dramas falls short once again with the writing ending up serving a jack of all trades and master of none. There’s just so much going on in so many of the episodes that it becomes increasingly hard to keep track of exactly what is what, who knows what, who is doing what to whom, and where we are in any of the stories. Continue reading “TV Review: Fortitude Series 2”
“Dashed hopes and good intentions. Good, better, best, bested”
“It’s an honour just to be nominated…” Come award season, these words are often heard but you do have to wonder what it feels like to be the only member of a four person ensemble that isn’t up for an Olivier Award. Such is the fate for Michael Esper in The Glass Menagerie just now, as Cherry Jones, Kate O’Flynn and Brian J Smith all find themselves deservedly up for acting prizes on Sunday while he’s had to put his game face on. Continue reading “Re-review: The Glass Menagerie / Who’s Afraid Of Virginia Woolf”
“The reason we can’t find the head in the snow is that someone has taken it away”
Just a quickie for this as I’m way behind (the series premiered at the end of January). I only caught up with Fortitude’s first season over New Year and I have to say I kinda loved the way it went from interestingly good to genuine batshit wtfuckery. It wasn’t necessarily calling out for a second series though and from the evidence of the first episode, it’s not immediately clear that it’s strictly necessary, even if you throw Dennis Quaid and Michelle Fairley in there as a new family.
A new crime has been committed hence layering in all sorts of new mystery but in a town where they’d previously boasted of never having had any crime, it kinda feels like overkill. And the writing feels caught between referencing previous events and starting completely anew, anthology-style, ie Luke Treadaway’s return for what appears to be a single episode versus the new Quaid/Fairley family unit. Sofie Gråbøl and Björn Hlynur Haraldsson’s chemistry as the first couple of Fortitude remains a thing of joy though (so is probably doomed) and I’m more than happy to give the show the benefit of the doubt, despite a slightly shaky start.
“Do you want me to say it’s funny, so you can contradict me and say it’s sad? Or do you want me to say it’s sad so you can turn around and say no, it’s funny”
The irony of the not unreasonable (don’t @ me) ‘no eating during the performance’ request blowing up around Who’s Afraid of Virginia Woolf?, is that a far more egregious act is being waged in the bars of the Harold Pinter Theatre where no ice is served in drinks purchased after 7.20pm. Imagine paying theatre prices for a G&T with no ice…the tears of George and Martha just wouldn’t stand for it.
Not that there’s much they don’t stand for in Edward Albee’s excoriating play, receiving an exemplary production here from James Macdonald. Over late night drinks with an unsuspecting younger couple, George and Martha release themselves from the fustiness of East Coast academic life by drinking hard and playing harder, twisted games making the black comedy darken into abject despair as the state of the marriages here are laid bare, warts and all. Continue reading “Review: Who’s Afraid Of Virginia Woolf, Harold Pinter”
“It’s not a new hotel we need, it’s a bigger morgue”
The publicity for Season 2 of Fortitude, just starting now on Sky Atlantic, reminded me that I had the first series still lying around unwatched and that now would be as good a time as any to get stuck in. Created and written by Simon Donald, it manages the not-inconsiderable feat of being an effective cross-genre show, so much so that it flicks from one to another from scene to scene. It begins life as a murder mystery set in the isolated town of Fortitude in Arctic Norway, the quality of its cast meaning that it can afford to knock off Christopher Eccleston’s scientist within the first couple of episodes.
As it is a community of about 700 in extreme conditions, it also plays out as a small town comedy of the blackest kind, as the quote up top demonstrates, bringing in soap opera-ish twists which also darken as well, pretty much into horror show territory. But where Fortitude is most unexpected is in its ventures into sci-fi, as the strange happenings in the township begin to defy any kind of rational explanation. It’s a disconcerting move but once the paradigm is established, I kinda liked the randomness it brought to the show, especially since I had no idea that that was where we were heading. Continue reading “TV Review: Fortitude Series 1”
2017 is only just over a week away now and the reviewing diary is already filling up! All sorts of headline-grabbing West End shows have already been announced (The Glass Menagerie, Who’s Afraid Of Virginia Woolf, Don Juan In Soho, The Goat, Or Who Is Sylvia) and the National look to continue a sensational year with another (Twelfth Night, Consent, the heaven-sent Angels in America), so this list is looking a little further afield to the London fringe and some of the UK theatres I hope to get to throughout the year.
After hearing Elizabeth Newman speak passionately on a panel discussion about women’s theatre, I kinda have a big (intellectual) crush on her, so I’m very keen to see her tackle a new adaptation by Deborah McAndrew of the classic Anne Bronte novel in a theatre that is very close to my heart.
Continue reading “20 shows to look forward to in 2017”