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”
During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and
Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson
Twelfth Night – Marc Brenner
I didn’t care too much for Peter Pan, as the gif below might suggest, so I’m keeping my mouth shut for once.
Running time: 2 hours 40 minutes (with interval)
Booking until 4th February
“I remember when, I remember, I remember when I lost my mind”
I hadn’t intended to go back to Jane Eyre, having already spent a day in Bristol watching it in its original two-part format, but after a rather revelatory experience at Hetty Feather of all places, my new-found appreciation for director Sally Cookson demanded a revisit. Cookson’s adaptation of Charlotte Brontë’s well-loved novel has been conflated into one single performance now, stretching out to three hours and thirty minutes but bursting with theatrical invention that just shimmers with freshness.
To carp about this or that being lost from the novel seems to be to spectacularly miss the point of what is being done here. Cookson and the company devised this production themselves and so it is clearly an interpretation of the material to suit a different medium but also one to carefully avoid any connotations of dourly faithful period drama. Iconoclastic music springs from its very soul (Melanie Marshall remaining as wonderful as I remembered), its spirit delightfully free from start to finish. Continue reading “Re-review: Jane Eyre, National Theatre”
“I’m going to stuff you, bear”
A rather unexpectedly lovely surprise from the end of last year whose key message of acceptance of foreigners feels ever more pertinent in the current circumstances. Paul King’s Paddington, based on Michael Bond’s classic creation, has that warm feel of a classic family film, full of set-pieces and humour and a deal of minor peril, but none so much as to really make you scared. Instead, there’s a glowing happiness that almost (sadly) feels as old-fashioned as a marmalade sandwich.
As if you didn’t know, Paddington comes from darkest Peru and a wittily filmed black and white prologue shows us how a British geographer called Montgomery Clyde befriended his family in the jungle, eventually leaving with a promise of a place to stay should they ever visit London. When circumstances conspire to leave Paddington alone on a railway platform in W2, he’s taken in by the Brown family and capers ensue. Continue reading “DVD Review: Paddington (2014)”
“A woman playing a woman, where’s the trick in that”
Any film with Clare Higgins yelling ‘give me back my merkin’ is surely destined for stone cold classic status but 2004’s Stage Beauty seems to have slipped from people’s minds whereas I always remembered it as a film I really enjoyed, more so that Shakespeare in Love. Much will depend on your opinion of Claire Danes but this tale of the rapidly changing world of the theatre during Charles II’s reign proved much more enjoyable than Shakespeare in Love ever did, and offers a fascinating, even-handed look at how both the men and women of the stage were affected by the decision to ban the former from playing the latter.
Billy Crudup’s Ned Kynaston has become one of the top actors in town, specialising in female characters like Othello’s Desdemona in which he frequently steals the show and aided by his faithful dresser Maria, played by Danes. She has a burning desire to act on the stage herself but since the Puritans outlawed such a thing in professional theatres, she’s limited to appearing in grubby pub theatres on the fringe (plus ça change…). The thespian desires of Charles’ ambitious mistress Nell Gwynn seem set to change that completely though, along with the fortunes of all concerned. Continue reading “DVD Review: Stage Beauty”
“You are no better than an animal…”
It is hard to feel too inspired by the revivals that keep popping up in the West End – Coward has Blithe Spirit and Relative Values, Wilde’s Importance of Being Earnest is set to return soon – knowing full well that they will well-acted (by and large) but conservatively directed, playing it safe in search of the widest audience but consequently lacking any form of real inspiration. Instead, one has to look elsewhere for the kind of innovation that gets me genuinely excited about the prospect of seeing a classic on stage, in this case, Sally Cookson’s production of Charlotte Brontë’s novel Jane Eyre.
The production is split into two shows but I opted for the marathon performance, the two spliced together, to minimise my travelling time and though it was quite the epic journey, I’m glad I did it as it really gave a sense of the grand sweep of the piece to do it in one go. Devised by the company, this highly musical and theatrically inventive interpretation has a wonderfully contemporary edge about it, presenting the narrative very much as we know it but teasing a freshness, a modernity of feeling about the whole affair which makes it a crying shame that it is so relatively short-lived here at the Bristol Old Vic. Continue reading “Review: Jane Eyre, Bristol Old Vic”
“You’re like the sea, always changing”
Recent weeks have seen a couple of instances where theatre has successfully challenged my preconceptions: A Midsummer Night’s Dream saw me reassess Filter and David Eldridge surprised me with some fantastic writing that really resonated with me in In Basildon. Ibsen however has been a major stumbling block for me – I’ve tried my best, taking in several productions of his work but that connection has never emerged, the reason for his continued popularity completely eluding me. So it would be a lie for to me to say that I went to the Rose Kingston’s new production of The Lady from the Sea with a completely open mind – I was amenable to having my mind changed but it was with a heavy heart that I went there.
I’ve seen the play once before – ironically in a version by David Eldridge at the Royal Exchange in Manchester – and it was not a happy experience. Ibsen’s story focuses on the nymph-like figure of Ellida, settled uneasily in a marriage of convenience to Dr Wangel as memories of her past continue to have a strong pull on her. Wangel tries to facilitate resolution by inviting a man from her past to stay but he stirs up great emotional swells that threaten to pull Ellida back to her beloved sea. Continue reading “Review: The Lady from the Sea, Rose Theatre Kingston”