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”
Francesca Moody Productions, Soho Theatre and Theatre Royal Plymouth in association with Popcorn Group have announced that Sophie Melville, Denise Black and Cat Simmons will appear in the world premiere of MUM. This provocative and unflinching portrayal of early motherhood and mental health, written by Olivier award-winning playwright Morgan Lloyd Malcolm (Emilia, The Globe/ West End) and directed by Abigail Graham (soon to also direct Aladdin at Lyric Hammersmith) will run at Theatre Royal Plymouth from 30 September – 16 October before transferring to Soho Theatre from 20 October – 20 November.
Motherhood. No one can prepare you for it. No matter how much you tell yourself you can do it – can you? Where’s the rush of love? When will you sleep again? What if the thing you fear most is also the thing you crave? All you wanted was one night of unbroken sleep, what have you done?
Nina is a new mum and tonight is her first night off. Tonight is about pizza and wine and letting go. But Nina didn’t feel prepared for motherhood and isn’t sure she fits the job description. Nina feels like she’s losing her grip.
This thought-provoking, funny and honest new play shines a light on early motherhood, anxiety and mental health. MUM examines the pressures and complex emotions many women experience when they have a baby. At a time when mothers have been disproportionally affected by the pandemic, never has it been more pertinent to explore these issues. Continue reading “News: Casting for MUM, The Mirror and the Light and The Rise and Fall of Little Voice”
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”