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”
A starry Mary Queen of Scots proves an intriguing if a little frustrating film debut for Josie Rourke
“The world will decide for itself”
An intriguing, if a little frustrating one this. Josie Rourke is a titan in the world of theatre and Mary Queen of Scots marks her cinematic debut. But despite a classy pair of lead performances from Saoirse Ronan and Margot Robbie as diametrically opposed queens Mary and Elizabeth, an ensemble consisting of the cream of British acting talent, and the sweeping beauty of the Highlands to frame every other shot, the film never really quite sparks into life.
Beau Willimon’s screenplay, based on John Guy’s book Queen of Scots: The True Life of Mary Stuart, dances around historical accuracy with its own determination, building in a climactic meeting between the two which although visually striking, dramatically brings precious little. Before then, the film is plotted as a strategic confrontation between two monarchs, two women, who are battling the worlds around them as much as each other. Continue reading “Film Review: Mary Queen of Scots (2018)”
I’d intended to let Bitter Wheat languish unthought-about forever more but last week’s Harvey Weinstein episode provoked this
Emma de Caunes,
Hope Exiner d’Amore,
Paz de la Huerta,
Juliana De Paula,
Lucia Evans, formerly Lucia Stoller,
Ambra Gutierrez, formerly Ambra Battilana,
Emma Loman (alias),
Sarah Ann Masse,
Jennifer Siebel Newsom,
Vu Thu Phuong,
“He needs to be on the side of the light”
Hilary Mantel became the first woman to win the Booker Price twice when the literary behemoth that was Wolf Hall was followed up by the equally considerable Bring Up The Bodies. And whilst we wait for the third part of her Thomas Cromwell trilogy – The Mirror and the Light – thoughts have turned quickly to adaptation. The BBC will be airing a six-part version by Peter Straughan in the future but the RSC have readied a theatrical interpretation of the novels by Mike Poulton which is now playing in the Swan Theatre in Stratford-upon-Avon. The shows can be seen separately, but are clearly designed to fit together (Wolf Hall has as close as the theatre gets to a cliffhanger ending!) and there are opportunities to see them on the same day.
At first glance, they may not seem the most likely choice for staging – set in the court of Henry VIII as he looks for ways of getting rid of his first wife Katherine of Aragon so that he might plant Anne Boleyn in her stead, these are all-too-familiar events. But Mantel’s magic was to tell the story through the eyes and mind of Thomas Cromwell, the wily commoner who worked his way up through the ranks to become one of the most influential man in the realm. Additionally, her magnificent present-tense prose brought Tudor England to life like never before, a rich attention to detail making this universe feel new-minted, as if anything could happen, not just what the history books say. Continue reading “Review: Wolf Hall/Bring Up The Bodies, Swan Theatre”
“I will have Gaveston, and you shall know what danger ’tis to stand against your king”
Now this is what I want my National Theatre to be like – creative, bold, fresh, fearless. There’s no pretending that Joe Hill-Gibbins’ production of Marlowe’s Edward II is flawless perfection, its modern ambition sprawls over the Olivier’s vast stage and up onto the walls as screens either side relay live video footage, but the energy at hand from both cast and creatives is wonderfully galvanising and points defiantly towards the possibilities of the future when Nicholas Hytner finally stands down in a couple of years. Traditionalists may balk, especially in some of the more challenging sections of the first half but for this institution to thrive, it has to be allowed to experiment and expand its remit and that ought to be supported by all.
Under the cruel yoke of his father, Edward suffered his lover Gaveston to be exiled but on ascending to the throne to become Edward II, he restores him to England and lavishes him with jewels and titles. But their overt hedonism riles up the powerful barons of the realm as they take up the cause of his neglected queen Isabella in an audacious power-grab, setting up the kind of conflict that leaves no-one unscathed. John Heffernan ascends to his first major London lead role with all of the subtlety and aching depth that has long made him a favourite around these parts. His Edward is a capricious fidget, pathetically desperate to please Kyle Soller’s cockily assured Gaveston and their headlong lustful passion is one that you believe he would fight tooth and nail for, yet he also possesses an innate grace under pressure – his abdication speech is profoundly moving, the desperation of his exile near-impossible to watch. Continue reading “Review: Edward II, National Theatre”
“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”
“Open the clouds”
It is rare that one witnesses people encouraging the clouds to open at any performance at the Globe, it seems like a needless temptation of fate! But nevertheless, Tony Harrison works in the phrase into this play and on this occasion at least, the heavens did not open (although Mary did still get assumpted!) Starting off with God and the creation and whipping through key stories from the Bible – ostensibly with messages incorporated for us in modern life – until we reach the last judgement, The Globe Mysteries is Tony Harrison’s own adaptation of his 1977 version of The Mysteries for the National Theatre.
Played with a cast of 14 who cover over 60 roles between them, we move from the Garden of Eden through Noah to the birth and death of Jesus and then beyond. There’s a rough chronology which sees us sweeping through time so that we end up more or less in a modern-day setting around the time of Jesus’ death which means the whole range of the costume department is exploited. Harrison’s text is a rough kind of verse, with rhyming couplets and modern reference points aplenty but it is a deeply traditional set of stories which doesn’t take well to the transfer and overall, I found it to be rather problematic. Continue reading “Review: The Globe Mysteries, Shakespeare’s Globe”
“There was a star danced, and under that I was born”
Much Ado About Nothing fans really are in for a treat this summer with two major productions running on either side of the river. The blockbuster version at the Wyndhams has the starrier casting to be sure but there is real delight to be had Bankside too as the Globe have tempted Eve Best from the world of American television (if only for a limited time) to star alongside Charles Edwards in this more traditional, but perhaps more engaging version of this most romantic of Shakespeare’s comedies. Claudio and Hero’s relationship is at the centre of this play and how Don John’s machinations threaten to thwart their true love, but it is in their friends Benedick and Beatrice’s sparring and refusal to admit their mutual love that really elevates this play into something special and that is what we have here at the Globe.
What is comes down to is the most delightful performance from Eve Best as Beatrice, my first opportunity to see her on stage and one which you should not miss. Unafraid to show the vulnerable, almost desperate side to the character as well as the customary sparky humour that serves as her distancing technique, she envelops every single member of the audience in her confiding embrace and I loved her from the start, even whilst cruelly dashing Don Pedro’s hopes. Charles Edwards’ rather foppish Benedick is a brilliant counterpart too, whose public school mannerisms are hilarious and an almost effective way of keeping his heart from bruising. And together they make a beautifully well-matched couple whose eventual union really gladdens the heart. Continue reading “Review: Much Ado About Nothing, Shakespeare’s Globe”
|Best Actress in a Play||Michelle Terry, Tribes||Nancy Carroll, After the Dance||Zoë Wanamaker, All My Sons
Helen McCrory, The Late Middle Classes
Miranda Raison, Anne Boleyn
Sophie Thompson, Clybourne Park
|Best Actor in a Play||John Heffernan, Love Love Love||Benedict Cumberbatch, After the Dance||Jacob Casselden, Tribes
David Suchet, All My Sons
Roger Allam, Henry IV Part I + II
Andrew Scott, Design for Living
|Best Supporting Actress in a Play||Rachael Stirling, A Midsummer Night’s Dream (Rose, Kingston)||Jemima Rooper, All My Sons||Jessica Raine, Earthquakes in London
Sylvestra Le Touzel, Les Parents Terribles
Clare Higgins, Hamlet (NT)
Madeleine Potter, Broken Glass
|Best Supporting Actor in a Play||Robin Soans, Palace of the End||Nigel Lindsay, Broken Glass||Adrian Scarborough, After the Dance
Eddie Redmayne, Red
Stephen Campbell Moore, All My Sons
William Gaunt, Henry IV Part I + II
|Best Actress in a Musical||Tracie Bennett, End of the Rainbow||Emma Williams, Love Story||Cora Bissett, Midsummer
Sheridan Smith, Legally Blonde
Katie Moore, Salad Days
Kirsty Hoiles, Spend! Spend! Spend!
|Best Actor in a Musical||Sam Harrison, Salad Days||Jon-Paul Hevey, Once Upon a Time at the Adelphi||John Owen-Jones, Les Misérables
Alan Richardson, Iolanthe
Matthew Pidgeon, Midsummer
Dean Charles Chapman, Billy Elliot
|Best Supporting Actress in a Musical||Hannah Waddingham, Into the Woods||Jodie Jacobs, State Fair||Karen Mann, Spend! Spend! Spend!
Siobhan McCarthy, The Drowsy Chaperone
Jill Halfpenny, Legally Blonde
Twinnie Lee Moore, Flashdance
|Best Supporting Actor in a Musical||Michael Xavier, Into the Woods||Matthew James Willis, Iolanthe||Tom Parsons, Avenue Q
Michael Howe, The Drowsy Chaperone
Liam Tamne, Departure Lounge
Earl Carpenter, Les Misérables