An all-star cast has assembled for an online reading of William Wycherley’s 1671 comedy Love in a Wood, presented by Jermyn Street Theatre, conceived and directed by Hermione Gulliford, and performed in aid of Equity Charitable Trust.
Word spreads fast in Restoration England. When romantic idealist Valentine makes a secret return from exile in France, he hears whispers that his lover Christina has been untrue. The thing is, Valentine is only jealous because his friend Vincent said that the hapless rogue Ranger had taken a liking to Christina. So, while Vincent and Ranger run amok, Valentine takes it upon himself to discover the truth. But can he see the wood from the trees…? Continue reading “News: Jermyn Street Theatre reveals all-star cast for Restoration comedy reading”
National Theatre at Home continues its home programming with both versions of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller and Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo, plus there’s a National Theatre at Home Quiz
Following on from the success of its opening set of transmissions – One Man, Two Guvnors was viewed over 2.5 million times in the week it was available – the National Theatre has announced the next two productions it will be airing as part of National Theatre at Home. 2011’s Frankenstein with Benedict Cumberbatch and Jonny Lee Miller sharing its two main roles and 2018’s Antony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo.
Both productions will be free to stream, premiering at 7.00PM BST and then available on demand for seven days. Further productions to be streamed as part of National Theatre at Home will be announced soon.
Today also sees the launch of the National Theatre at Home Quiz, to be played from home featuring familiar faces from the world of stage and screen as the quizmasters. Each quiz will include rounds of five questions on a wide variety of topics.
On the final Monday of each month people will be able join the virtual quiz directly from their homes via the NT’s YouTube channel and Facebook page live at 7pm. The first quiz will be on Monday 27 April with quizmasters Dame Helen Mirren, Sir Lenny Henry, Lesley Manville, and Sir Ian McKellen asking questions on topics including history, sport, nature, and of course, the National Theatre (bagsy team Manville).
Antony and Cleopatra is a lengthy evening at the National Theatre but one which pays rich rewards, particularly in Sophie Okonedo’s majestic performance
“Give me my robe, put on my crown; I have Immortal longings in me”
Or Cleopatra and Antony as it turns out. Ralph Fiennes is plenty good in Simon Godwin’s modern-dress production of Antony and Cleopatra for the National Theatre, but Sophie Okonedo is sit-up, shut-up, stand-up amazing as she holds the ancient world and the entirety of the Olivier Theatre in her hand (and then wipes it clean with a look of disdain, as she wittily does after a messenger slobbers kisses all over it at one point). It is often acclaimed as one of Shakespeare’s greatest roles for women but an actor still has to do great things with it and here, Okonedo more than delivers.
In the opulent cerulean blue of Hildegard Bechtler’s design with its sunken pools and luxury, and in the magnificent array of statuesque costumes by Evie Gurney (such capes!!), her Cleopatra is a figure of immense poise. Even in her most capricious moments, there’s a knowing, performative quality to her that demonstrates just how much she’s controlling the narrative here, even when left alone by her Antony. And when together, there’s a palpable, mature connection between them – made all the more tragic by a prologue that presents a tableau of the final scene – their destinies entwining even as they’re increasingly doomed. Continue reading “Review: Antony and Cleopatra, National Theatre”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
“A new world which will last for ever…”
I’m pretty sure every time a German production is mounted in the UK, it is slapped with the mantle of ‘most popular contemporary German playwright’ (see Franz Xaver Kroetz’s The Nest from late last year) – a sign that audiences here still have to be led gently by the hand towards European drama with whispered encouragements of ‘well he is the best they have, you know’.
This time, it is Roland Schimmelpfennig’s turn, as his 2013 play Winter Solstice receives its British premiere at the Orange Tree in this Actors Touring Company production directed by Ramin Gray. And it is well worth the effort as though it may flirt with the experimental, it also cuts through to the elemental – as piercing an insight into the rise of the far right as we’ve seen on any stage. Continue reading “Review: Winter Solstice, Orange Tree Theatre”
“The whole situation’s been really quite dreadful”
Based on Vera Brittain’s First World War memoir, Testament of Youth hit cinemas in late 2014, perfect timing to capitalise on the rising star of Alicia Vikander whose moment would culminate in winning an Academy Award for The Danish Girl. Her work here in this film is equally spectacular though, directed by James Kent and written by Juliette Towhidi, an elegiac beauty washes through the whole production as Vera’s determination first to study at Oxford and then to help with the war effort plays out.
We first meet Vera in the good company of three good-looking men and as the film progresses, it’s refreshing to see that her journey isn’t defined by them, merely informed. Kit Harington’s poet Roland, Colin Morgan’s shyly besotted Victor, Taron Egerton’s faithful brother (who shares his sister’s eye for a good-looking chap and when it’s Jonny Bailey, who wouldn’t!). And as war plucks each of them from their country idyll, her relationship with each has to bend and reshape. Continue reading “DVD Review: Testament of Youth (2014)”
How The Other Half Loves indeed…
A rather unexpected transfer for this Alan Ayckbourn play (losing Tamzin Outhwaite in the process) and apt for these post-Brexit times – Ayckbourn’s enduring popularity acts as a salutary reminder that there’s plenty of folk out there who don’t think like I do… 😉 Continue reading “Brexited Review: How The Other Half Loves, Duke of York’s Theatre”
“The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man”
Not gonna lie, the prospect of Man and Superman has had me vacillating between
after ill-timed illness meant we couldn’t use our £15 seats in the front row. Some stalking of the website got me another cheap seat but this time up in the circle slips which is somewhere I never want to sit again – it may be a bargain but you sacrifice an awful lot to tucked away up there (although the individual seats are quite nifty themselves).
The play itself isn’t bad, not as good as I’d hoped in all honesty given how lovely and sunny it was outside, and I rarely felt that inspired by it (a consequence of being much farther away than I’m used to I think). So for this one, I’m abdicating my blogging responsibilities and you’ll have to look elsewhere for a review…
Running time: 3 hours 40 minutes (with interval)
Booking until 17th May
“Through all the drama — whether damned or not —Love gilds the scene, and women guide the plot.”
The main beauty of Selina Cadell’s production of Richard Brinsley Sheridan’s evergreen The Rivals is her mastery of the Restoration form which sees no fourth wall separating players and punters. So on taking the stage, her actors acknowledge the audience in their own ways – awkward bows, tacit nods, arched eyebrows – and continue to address us throughout, an expositionary monologue here, an announcement of the scene’s location there, a gossipy aside everywhere. What really makes it work though is the warmth and wit with which the company fold us into its welcoming arms.
With a wicked glint in her eye and wryly pursed lips, an extravagantly dressed Gemma Jones ensures her Mrs Malaprop reaches the very pineapple of her comic potential and with no less captivating humour, Nicholas Le Prevost makes even the lewdest of Sir Anthony Absolute’s comments a hilarious part of his incorrigible charm. They have decided that her niece Lydia Languish and his son Captain Jack Absolute are an ideal match but young Lydia – an outrageous Jenny Rainsford who plays her on the edge of sanity to hugely entertaining effect – has her heart set on the romantic, and penniless, hero of her dreams. Continue reading “Review: The Rivals, Arcola Theatre”
“Theatre is the handmaiden of the devil”
With a theatrical version of Shakespeare in Love about to open in the West End, I thought I’d revisit the 1998 film as I’m not entirely sure that I’ve seen it since it was first released. It is still surprising to see that it managed to win seven Academy Awards and whilst I like both Gwyneth Paltrow and Dame Judi Dench, looking at their competition it is a little galling to think that they were recognised for these roles. And in the light of the huge authorship furore that erupted around Anonymous, it is interesting to see how little comparable fuss the level of invention here caused.
To be fair, Marc Norman and Tom Stoppard’s film makes no pretence to be literarily or historically accurate (given the paucity of source material, it’s hardly surprising) but because the approach here is a hugely affectionate one towards the Bard, rather than challenging popular notions about him, it is clear something of a free pass has been given here. So we see Joseph Fiennes’ Shakespeare working on a comedy called Romeo and Ethel, the Pirate’s Daughter and being inspired by the everyday chatter and the tumult of his personal life to amend the play and write his famous words. Continue reading “DVD Review: Shakespeare in Love”