News: National Theatre adds new productions to streaming platform NT at Home

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 2019Sally 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 LightsIan 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”

News: Olivier and Dorfman Theatres to reopen in June 2021 with Under Milk Wood and After Life

The National Theatre today announces plans to reopen in June, welcoming audiences back to the South Bank for the first time since closing last December. The Olivier and Dorfman Theatres will reopen in June 2021 with Dylan Thomas’ Under Milk Wood and new play by Jack Thorne After Life Continue reading “News: Olivier and Dorfman Theatres to reopen in June 2021 with Under Milk Wood and After Life”

TV Review: Unprecedented, Episode 3

Episode 3 of Unprecedented proves a bleak and brutal one-two of hard-hitting Covid drama

“I don’t see what good it does to worry, sitting around panicking”

Due to the (presumably intentional) programming, Part 1 and Part 2 of Unprecedented – Headlong and Century Films’ creative response to Coronavirus – found a sense of balance in their collections of short plays, tragicomic probably being the watchword. Episode 3 however goes all in on the tragedy, making it a pretty bleak half hour.

First up is Duncan Macmillan’s Grounded, directed by Jeremy Herrin, which takes aim at the generation gap and how that has dictated people’s response to the crisis. Katherine Parkinson’s event planner is wracked with job worries and concerns over her ability to home-school. But what really drives her over the edge is the casualness with which her retired parents are taking the whole affair, screaming into the ether as they amble on as if life hasn’t changed but at all. Alison Steadman and Michael Elwyn are excellent as the slightly daffy, devoted couple belatedly coming round to the seriousness of it all. Continue reading “TV Review: Unprecedented, Episode 3”

News: cast announced for Unprecedented: Theatre from a State of Isolation

Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.

Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be. Continue reading “News: cast announced for Unprecedented: Theatre from a State of Isolation”

TV Review: Quiz

James Graham’s Quiz makes a marvellous leap from stage to screen

“People still want to gather as a nation, to experience something big together”

Not a huge amount to say about the TV adaptation of James Graham’s Quiz, a show I enjoyed in the West End, not least because of its interactive elements (even if we lost). It bloomed in the televisual treatment, losing a little of its structural intricacy but gaining a narrative through-line that really worked, the explosive arrival of Helen McCrory’s QC making it worth the while. And the story remains as intriguing as ever, though just as free from doubt for me.

They totally did it, right – the Ingrams may have been stitched up in court by the tinkered-with evidence (and credit to Matthew Mcfadyen and Sian Clifford for two excellent performances) – but they totally did it.  Fun to see cameos like Paul Bazeley’s Lionel from Legal and Maggie Service’s Kerry the Floor Manager, and original cast members like Sarah Woodward and Keir Charle too.

Review: The Country Wife, Minerva

A cracking cast can’t quite make sense of a modern updating of The Country Wife at Chichester’s Minerva Theatre

“What is wit in a wife good for, but to make a man a cuckold?”

How many productions does it take for a playwright to have a moment? We could be on the cusp of a Wycherley wave, with the second production of The Country Wife to arrive this year (the first being at the Southwark Playhouse in April). 

But though this Restoration writer is proving popular, directors seem unable not to tinker with his work – that production was set in the 1920s and Jonathan Munby here moves it even further to the present day, casting new light but also dimming its intent. Continue reading “Review: The Country Wife, Minerva”

Review: Network, National Theatre

“I’m mad as hell, and I’m not going to take this anymore”

 With Network, Lee Hall’s adaptation of Paddy Chayefsky’s 1976 film, Ivo van Hove re-asserts his place as one of the premier theatremakers working, anywhere. A satire that managed to predict just how powerful a tool populist anger can be when leveraged effectively, it is transformed into the immersive bustle of a TV studio, that of UBS Evening News where old hack Howard Beale – a transcendent performance by Bryan Cranston – has been handed his notice. Though initially appearing to accept it with good grace, he causes an almighty media stir when he declares, on air, that he’s going to kill himself, triggering a most unlikely rebirth as a truth-spilling ‘prophet’.

And as ever, van Hove and designer Jan Versweyveld challenge our notions of theatrical space and how it is used. An onstage restaurant puts (some) audience members right in the thick of the action, the fourth wall gets well and truly shattered, and the use of live video and big screens forces us into the role of active observers – as Beale goes live on air, do you watch Cranston himself, do you watch him onscreen, do you watch the team observing him from the producers’ box…the multiplicity of perspectives reminds us how easy it is to manipulate media, how there can always be other sides to the story. Continue reading “Review: Network, National Theatre”

TV Review: Will, Episodes 1 + 2

“You are a curiosity”

American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.

I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed.  Continue reading “TV Review: Will, Episodes 1 + 2”

Review: The Red Barn, National Theatre

“It’s as if I have lived my whole life with the handbrake on”

On booking for The Red Barn, you’re advised that “due to the tense nature of the play, there will be no re-admittance”. The play – written by David Hare from the 1968 novel La Main by Georges Simenon – is also described as a psychological thriller on the website. It all adds up to a certain degree of expectation about what kind of show it is one is going to see and even though this isn’t my first time at the rodeo, I’ve seen a few shows and know the danger of anticipation, it is often hard not to carry the weight of those expectations with you as you take your seat.

Which is a roundabout way of saying that Robert Icke’s production of The Red Barn was not the play I thought it would be. And that my initial slightly cool reaction was as much a response to that as it was to the material itself. Set in the depths of a Connecticut winter, two couples make their way home from a party and when one of the men doesn’t make it back, it is the consequences of that that makes up the meat of the play. Specifically, it’s how the other man of the group reacts, both right then and from then on, that Simenon and Hare and Icke probe into. Continue reading “Review: The Red Barn, National Theatre”

Review: Waste, National Theatre

“The stateman’s task is the accommodation of stubborn facts to shifting circumstance and in effect to the practical capacities of the average stupid man. Democracy involves admission of that”

It’s always a bit tough to forge one’s own opinion of something already lauded as a masterpiece, the assumption being if you don’t like it then you’re missing something, but this is the second time I’ve seen a solidly good production of Harley Granville Barker’s Waste and it’s the second time that I just haven’t been blown away by it. Seven years ago saw Samuel West tackle it for the Almeida and now it is Roger Michell’s turn in the Lyttelton as Rufus Norris continues his balancing act of reinvigorating the National Theatre without scaring the regulars off.

But spread over a goodly three hours with a pace that could be described as stately at best and glacial at its worst, it’s hard to see Waste converting any newcomers to the joys of theatre. And even with the quality that emanates from the female-centric first scene – Olivia Williams, Sylvestra Le Touzel, Doreen Mantle and Lucy Robinson (forever in my heart as my first Lady Macbeth) doing fine work – the energy is just singularly lacking even as sex, sleaze and suicide pop up on the menu for this slice of the Edwardian political elite.  Continue reading “Review: Waste, National Theatre”