The National Theatre, in partnership with Bloomberg Philanthropies, has today launched National Theatre at Home, a brand-new streaming platform making their much-loved productions available online to watch anytime, anywhere worldwide.
Launching today with productions including the first ever National Theatre Live, Phèdre with Helen Mirren, Othello with Adrian Lester and the Young Vic’s Yerma with Billie Piper, new titles from the NT’s unrivalled catalogue of filmed theatre will be added to the platform every month.
In addition to productions previously broadcast to cinemas by National Theatre Live, a selection of plays filmed for the NT’s Archive will be released online for the first time through National Theatre at Home, including Lucy Kirkwood’s Mosquitoes with Olivia Colman and Inua Ellams’ new version of Chekhov’s Three Sisters (a co-production with Fuel). Continue reading “News: NT launches new streaming service National Theatre at Home”
Reinterpreting the women of Greek mythology for today, the theatrical enterprise of 15 Heroines is a major achievement and a highlight of the year, digital or otherwise
“The gods should protect me”
15 Heroines comes to us in collaboration between the Jermyn Street Theatre and Digital Theatre as fifteen female and non-binary playwrights tackle Ovid’s Heroides, giving voice to the women of classical mythology anew. Split into three groups of five 15-minute monologues – The Labyrinth, The War, The Desert – this is a major theatrical enterprise that offers startlingly fresh perspective on these tales of old and serves as a reminder, as if it were needed, that men are trash.
Or more specifically, the men that we often describe as heros have serious issues when it comes to the women in their lives. There may be some excuse for the women left behind by The Trojan War – Sophia Eleni’s Love Island-esque but still sweet Laodamia is the wife of the first soldier killed as explored by Charlotte Jones – but more often than not it is just men being (fuck)boys. Lettie Precious delves beautifully into Oenone’s feelings about being abandoned by Paris for Helen, Ann Ogbomo’s righteous fury scalds the screen. Continue reading “Review: 15 Heroines”
Jermyn Street Theatre are thinking big once again, as their previously announced 15 Heroines project, in collaboration with Digital Theatre, reveals a titanic cast of actors to join the 15 female and non-binary playwrights commissioned to retell the stories of the women of classical myth. And not just that, Adjoa Andoh will be co-directing alongside Tom Littler and Cat Robey. Hook. Me. Up!
Full casting comprises Gemma Whelan, Jemima Rooper, Ann Ogbomo, Rebekah Murrell and Sophia Eleni in The War
Indra Ové, Rosalind Eleazar, Nicholle Cherrie, Eleanor Tomlinson and Martina Laird in The Desert and
Olivia Williams, Nadine Marshall, Doña Croll, Nathalie Armin and Patsy Ferran in The Labyrinth. Continue reading “News: Jermyn Street Theatre’s 15 Heroines announces a truly heroic cast”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
With the loss of its original core cast and the destabilising presence of Martine McCutcheon, Series 4 of Spooks struggles to find its feet
“You’re up against the British state…who do you think is going to win that particular battle?”
This season of Spooks struggles quite badly amidst all the upheaval of Series 3 in which in the entire original team departed Thames House. Tom’s identikit replacement Adam does well enough but somehow, something goes terribly wrong with the introduction of his wife and fellow spy Fiona (Olga Sosnovska). They sadly lack chemistry and their domestic drama just doesn’t translate well into the business of saving the country on a weekly basis.
The tone is set by the randomly chaotic energy of Martine McCutcheon’s guest spot in the opener two-parter and from then on, as we cover people smuggling, the rise of far right political movements, cultists and the ethics of releasing terrorist suspects, the series jerks along rather, Raza Jaffrey’s Danny-a-like isn’t given anywhere near enough to do and the snaffling of Miranda Raison’s Jo off the street is as bizarre an advert for recruitment as any.
It’s a pretty low-key series for Ruth – hints of her passion for Harry come through whether in romantic feeling or rebelling against him a bit. She comes into her own in the final episode with the revelation of a step-brother who killed himself but has never been mentioned before putting her in the line of fire but all in all she deserves better. Continue reading “Lockdown TV Review: Spooks Series 4”
I might have taken a break from reviewing for the last couple of months, but I didn’t stop going to the theatre. Here’s some brief thoughts on most of what I saw in August.
Joseph and the Amazing Technicolor Dreamcoat, aka the Sheridan Smith show
Queen of the Mist, aka the surprisingly affecting one
Appropriate, aka all hail Monica Dolan
Waitress, aka ZZZZZZZOMGGGGG STUNT CASTING oh wait, Joe Suggs hasn’t started yet
The Doctor, aka all hail Juliet Stevenson
A Very Expensive Poison, aka it was a preview so I shouldn’t say anything
Blues in the Night, aka all hail Broadway-bound Sharon D Clarke (and Debbie Kurup, and Clive Rowe too)
The Night of the Iguana, aka justice for Skyler Continue reading “August theatre round-up”
Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Running time: 65 minutes (without interval)
Photos: Johan Persson
ANNA is booking at the National Theatre until 15th June
Sophie Treadwell’s 1928 expressionist play Machinal receives an extraordinary production from Natalie Abrahami at the Almeida Theate
“Your skin oughtn’t to curl – ought it – when he just comes near you- ought it? That’s wrong, ain’t it? You don’t get over that, do you – ever, do you or do you?”
Sophie Treadwell’s 1928 play Machinal may be the story of one woman battling societal pressure but Natalie Abrahami’s production for the Almeida Theatre teases out a more elemental struggle, one which stretches over the majority of the twentieth century and by extension, even further.
The story is rooted in its ordinariness. Emily Berrington’s Young Woman gets by at a job she doesn’t like, marries the first guy who shows an interest, gives birth to a child she scarcely wants – expectations check check checked. But as she learns that she wants more, can want more, the weight of societal pressure comes to bear. Continue reading “Review: Machinal, Almeida”
“The Labour Party is fucked”
I know a bit about a few things but for some reason, UK politics has never figured that highly on the list. So whilst Steve Waters’ new play Limehouse might well be familiar territory for the vast majority of the matinee audience I saw this with, for me it was a bit of a history lesson. It was also a bit of a challenge as I’d skipped lunch and the smell of the pasta bake being made onstage left me near-ravenous!
Limehouse follows a small group of Labour politicians as they despair at the militant leftwing direction their party is taking and try to decide what, if anything, they can do about it. Perhaps not accidentally, parallels can be drawn with the situation at the moment but this drama is set in 1981 and the quartet are Bill Rodgers, Shirley Williams, Roy Jenkins and David Owen – the Gang of Four who went on to form the SDP. Continue reading “Review: Limehouse, Donmar”
“You might put me in prison but let me tell you this: you can’t judge me unless you’ve had it done to you.”
Blimey, I knew Unforgotten was good (here’s my Episode 1 review, and my Series 1 review) but I wasn’t expecting it to be this soul-shatteringly excellent. More fool me I suppose, Nicola Walker is a god among mortals and her presence alone is reliably proving a harbinger of excellence, but allied to Chris Lang’s scorching writing, it’s hard to imagine that we’ll see much better television than this before the year is out.
That it managed this by using elements that have been seen recently (historical child sex abuse as per Line of Duty; the Strangers on a Train twist featured in Silent Witness just last month) and imbuing them with a compelling freshness is impressive enough, but the way in which it revealed this at the mid-point of the series and yet still had hooks and surprises aplenty to keep me gripped right until the bitterly haunting end. Continue reading “TV Review: Unforgotten Series 2”