National Theatre adds The Deep Blue Sea and The Comedy of Errors to National Theatre at Home
The National Theatre has today announced The Deep Blue Sea, with Helen McCrory in the lead role as Hester Collyer, will be added to National Theatre at Home for audiences around the world to experience. The recording is dedicated in fond memory of Helen McCrory, who had a long and rich association with the National Theatre and who sadly passed away last month. The Deep Blue Sea was her most recent performance at the National Theatre in 2016. Two on-stage conversations with Helen McCrory have also been made available on National Theatre at Home: one on stage in 2014 with Genista McInosh as Helen discussed preparing to play Medea (also available on National Theatre at Home) and one from 2016 in conversation with Libby Purves about playing Hester in The Deep Blue Sea.
Carrie Cracknell, who directed Helen in Medea and The Deep Blue Sea, said: “Helen was undoubtedly one of the greatest actors of her generation. Incandescent, playful, fierce and wildly intelligent. Her craft and precision as an actor was awe-inspiring. On some afternoons, while Helen was rehearsing The Deep Blue Sea at the NT, the sun would pour through the windows, and it would feel for a moment that time had stopped. That the world had stopped revolving, as the entire cast and crew would stand, quietly enraptured by the humanity and aliveness and complexity of Helen’s work. As we moved the production into the auditorium, I would marvel at how she held an audience of 900 people in the palm of her hand. She could change how we felt with the slightest glance, a flick of the wrist, a sultry pause, yet somehow she never lost the central truth of her character. I couldn’t be prouder that we have this beautiful recording of our production to share. Continue reading “News: National Theatre adds The Deep Blue Sea and The Comedy of Errors to National Theatre at Home”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
“There’s no place for a highly educated African woman here”
Danai Gurira’s Eclipsed was the best thing I saw in 2015 so the prospect of seeing her 2012 play The Convert, also at the Gate Theatre, was a joyous one indeed. And once again, Gurira turns her focus to the African continent, exploring the kind of history that I’m pretty sure is rarely featured in the majority of Western schoolrooms. The year is 1896 and the place is Rhodesia, the country now known as Zimbabwe, and The Convert takes a look at colonialism there from the inside out.
Chilford may be a native of this territory but taken from his family as a young boy, he has been moulded into an approximation of ‘an English gentleman’, the only black Roman Catholic priest in the area and tasked with the job of converting the population to the ways of their colonial masters. On the run from an attempt at forced marriage, Jekesai finds sanctuary under Chilford’s tutelage, renamed as Ester and quickly becoming his star pupil but as she comes to understand just how much she’s expected to give up, she’s left to question if there’s any safe haven at all. Continue reading “Review: The Convert, Gate Theatre”
“Everything was free”
A late jaunt to the National to The Suicide, Suhayla El-Bushra’s fiercely contemporary updating of Nikolai Erdman’s 1928 play, before it closed. Though I have to say I wasn’t entirely convinced by it, Nadia Fall’s production is visually hugely ambitious, retooled for the world of YouTubers and hipsters, but ultimately feeling as shallow as the societal trends that it is trying to satirise.
Javone Prince’s Sam Desai is long-term unemployed and newly bereft of benefits, so disillusioned with the world is he that he decides to top himself but when a film clip of him making that decision goes viral, he’s swept along for the ride as all of society try to co-opt him for their own ends. To publicise a café, to get a music deal, to highlight the lack of adequate mental health care. Continue reading “Review: The Suicide, National Theatre”
“How ill agrees it with your gravity to counterfeit thus grossly with your slave”
Ephesus is London, Syracuse is somewhere in the West Indies (I think) and we’re in the modern day: Dominic Cooke’s production of The Comedy of Errors moves into the Olivier at the National Theatre for an epically long run of a thoroughly updated version of this play. One of Shakespeare’s earliest works, it’s a classic tale of mistaken identities as two sets of twins separated at birth by a shipwreck rocket around the same city causing absolute mayhem as wives, merchants and policemen get tangled in a confused mess over the course of a manic day. We took in a late preview of this show which opens officially on Tuesday 29th.
Though it is Lenny Henry’s face on the poster, this is Claudie Blakley and Michelle Terry’s show. As Adriana and Luciana, here a pair of loaded Essex girls, they ooze buckets of attitude as they sit through manicures and massages whilst bemoaning their menfolk and spend the vast majority of the play in some seriously impressive towering heels, even managing to run round the stage in them several times. Blakely’s comic timing is nigh on perfect as she rages through Ephesus/London but also plays a depth to this woman, all too aware of her husband’s philandering and her final contemplative gaze at her husband is a mightily powerful moment. Terry is transformed with straightened blonde locks and a delightfully brash manner which milks every conceivable laugh from her lines: together they are just dynamite. Continue reading “Review: The Comedy of Errors, National Theatre”