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”
Elements of David Renwick’s writing starts to show signs of flagging as the magic starts to fade in Series 3 of Jonathan Creek
“What exactly does all this add up to?”
After a decent first couple of series, the third season of Jonathan Creek sees the show start to wobble a bit as the raft of impossible crimes sways from ingenious plotting to improbably convoluted. Episodes tackle disappearing aliens and a man who thinks he has sold his soul to the devil and it doesn’t always come off.
That said, there’s still some classic tales in here too. The revelation of ‘The Eyes of Tiresias’ is artfully done and ‘Miracle in Crooked Lane’ is properly, admirably fiendish even with its meta-theatrics. Alan Davies and Caroline Quentin both continue in good form but David Renwick’s writing doesn’t permit more than piecemeal character development which, three series in, leaves them a little flat. Continue reading “TV Review: Jonathan Creek, Series 3”
The reliable charms of White Christmas reappear at the Dominion Theatre
“When what’s left of you gets around to what’s left to be gotten, what’s left to be gotten won’t be worth getting, whatever it is you’ve got left.”
White Christmas is a show that keeps returning and consistently attracts casts that I can’t quite resist. I’ve seen it in Manchester, Leeds and in this very theatre five years ago. So NIkolai Foster’s production holds little surprise for me now, insomuch as any production of White Christmas can surprise. Instead the feeling is more of cocoa-warm comfort, a reliability underscored by fun performances from leads Danny Mac, Dan Burton, Danielle Hope and Clare Halse. Read my 4 star review for Official Theatre here.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th January
“Donna Noble has left the library. Donna Noble has been saved”
And here we are, my favourite series of Doctor Who. So much huge wonderfulness and even its less good moments are still more than halfway decent. Key to the series’ success is Catherine Tate’s Donna Noble – gobby and one-dimensional in her introductory episode the Christmas special The Runaway Bride, her character journey throughout this season is magisterially constructed, a true awakening of self (with thankfully no romantic inclinations towards our Time Lord) and one given unbearable poignancy due to its frustratingly tragic end.
It’s also one of the best constructed series in terms of its over-arching season arc, its warnings and clues layered meaningfully into several stories and building into a momentous and properly climactic finale, which lands just about the right level of grandiosity. There’s also the first companion-lite episode (the superbly creepy Midnight) to go with the Doctor-lite one (the achingly beautiful dystopian Turn Left); a typically brilliant Moffat double-header in Silence in the Library and Forest of the Dead with gorgeous work from Alex Kingston as the soon-to-be-hugely-significant River Song; and if the return of Rose undoes some of the emotional impact of the Series 2 finale, Billie Piper’s work is spikily powerful. These are episodes I can, and have, watched over and over again.
Continue reading “Countdown to new Who: Doctor Who Series 4”
“I am so lonely…”
Academy Award-nominated stars are appearing in the unlikeliest of places off-West End at the moment, but the key is to work out the connection. Fatal Attraction’s Anne Archer will soon be appearing at the Park in The Trial of Jane Fonda, which just happens to be written by her husband, and Jeff Bridges is now to be found at the Jermyn Street Theatre in Off The Kings Road, as a favour to his friend Neil Koenigsberg, a Hollywood publicist, manager, producer and first-time playwright.
To be clear, it’s an “e-appearance” from Bridges, via the medium of pre-recorded Skype interactions but the point still holds, it’s all about the connections. And you might wonder if those connections helped this production into theatres, for it isn’t necessarily the strongest piece of writing from Koenigsberg. Even with a company of just five, Off The Kings Road is too filled with uninspired stock characters whose hackneyed dialogue give them little chance to escape stereotype. Continue reading “Review: Off The Kings Road, Jermyn Street Theatre”
“I don’t drink…I imbibe”
In the midst of the US Civil Rights Movement igniting, Paul Minx’s The Long Road South takes a micro-perspective on this momentous time, looking at the experience of a single family in the baking heat of an Indiana summer. Andre and his partner Grace have spent the summer working for the Price family but now the time to leave, and more importantly to get paid, has come, it’s proving a lot more difficult than anticipated.
Andre has been employed as a gardener and also to tutor the daughter of the family for a Bible-speaking contest but his religious resolve is being tested by the precocious Ivy, whose determination to ‘get her man’ proves to be the spark in a powder keg already full of simmering tensions. Jake Price is having trouble at work, his wife Carol Ann is lost in an alcoholic haze, Andre is desperate to be reunited with his institutionalised daughter Jule and his partner Grace is anxious to join the protests. Continue reading “Review: The Long Road South, King’s Head Theatre”
2016 is nearly upon and for once, I’ve hardly anything booked for the coming year and what I do have tickets for, I’m hardly that inspired by (the Garrick season has been ruined by the awfulness of the rear stalls seats, and I only got Harry Potter and the Cursed Child tickets due to FOMO). Not for the first time, I’m intending to see less theatre next year but I do have my eyes on a good few productions in the West End, fringe and beyond. Continue reading “20 shows to look forward to in 2016”
Having had a near-perfect experience in on the front row at Chichester for Singin’ in the Rain, I didn’t think it could be topped by visiting the London transfer – sometimes I think it is best not to go back. But listening to the cast recording released by the London cast in 2012, I’m kinda wishing that I had. It is a cracking musical whichever way you cut it but this is a brilliant record of a dazzling production that, dare I say it, I listen to just as much as the original film soundtrack.
This CD features 19 tracks, marking a slightly different tracklisting to previous theatrical productions, with most of the reprises included too. Larry Wilcox and Larry Blank’s orchestrations sound just luscious under Robert Scott’s musical direction, making the instrumentals just as vividly vibrant to listen to as the iconic songs we’ve all come to know and love and in Adam Cooper, Scarlett Strallen and Daniel Crossley’s expert hands, they are gloriously great. Continue reading “Album Review: Singin’ in the Rain (2012 London Cast Album)”
“We’ve got two hours to show the vast range of work the National has done over the last 50 years by staging scenes from some of the most memorable shows – there are more than 800 to choose from”
Celebrating a notable half-century of the South Bank institution, National Theatre – Fifty Years on Stage proved a remarkable evening of theatre, gratefully captured on film so that its reach could indeed be closer to national than the capacity of the Oliver would allow. And Nicholas Hytner did a fine job of representing the illustrious past, showcasing 30 or so productions, mainly through live performance but also with some choice trips to the video archive.
The snippets of archive footage were delightful – from Robert Stephens, Maggie Smith and Olivier carousing in The Recruiting Officer and Smith with Anthony Nicholls in Hay Fever to Fiona Shaw’s incredible Richard II and Ian McKellen’s exceptional Richard III. And always alive to the connections to the past, we opened with the first scene of Hamlet featuring Sir Derek Jacobi as the ghost, revisiting the play in which he played Laertes in the very first production on this stage, And we end in a similarly ghostly manner, as the voices of Adrian Lester and Rory Kinnear giving us Othello give way to a recording of Laurence Olivier and Frank Finlay from 1965
Of the live performances, I loved Joan Plowright returning to Joan of Arc to spinetingling effect, the same with Judi Dench’s Cleopatra. Dench has a superb night in all, reprising her highly affecting rendition of A Little Night Music’s ‘Send in the Clowns’ too. And also doing it for the dames, Helen Mirren scorches in Mourning Becomes Electra, opposite Tim Pigott-Smith. And the tidbits of ‘productions we’ll never see’ were a constant delight. Kobna Holdbrook-Smith and Benedict Cumberbatch enlivening Rosencrantz and Guildenstern are Dead no end, Ralph Fiennes and Charles Edwards teasing what they could do with Pravda, Andrew Scott and Dominic Cooper promising the world with a near-perfect slice of Angels in America. I also really enjoyed the dream cast of Arcadia, Anna Maxwell Martin and Jonathan Bailey making Stoppardian magic with Rory Kinnear and Olivia Vinall, you just wish that we could somehow get longer with all of them.
Perhaps inevitably, there’s a slight whiff of the largely male, pale and stale to proceedings. Tripping from Coward to Pinter to Ayckbourn is a natural reflection of the way things were but there’s a slight danger in perpetuating that state of affairs. There’s of course a thrill in seeing Jacobi and Michael Gambon’s excerpt of No Man’s Land but you have to hope that the future (100 Years on Stage?) is able to showcase a wider range of dramatic talent to reflect a truly national theatre.
Though the temptation is strong, and the actuality may well prove so, I don’t think I will be catching quite so much theatre in 2012 as I did last year. I could do with a slightly better balance in my life and also, I want to focus a little more on the things I know I have a stronger chance of enjoying.
So, I haven’t booked a huge amount thus far, especially outside of London where I think I will rely more on recommendations, but here’s what I’m currently looking forward to the most: Continue reading “Shows I am looking forward to in 2012”