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”
This TV adaptation of Philippa Gregory’s The White Queen proves rather schlockily enjoyable
“You live in a country that is divided”
Philippa Gregory’s novels have long been a pleasure for me, a guilty pleasure if I believed in such a thing, as her female-focused, historical fictions offer much trashy enjoyment. A miniseries of The White Queen was created in 2013 but though it aired on the BBC and garnered some award success, it proved to be a one-off (for five years at least).
The White Queen is an adaptation of her Cousins’ War series ((The White Queen, The Red Queen, and The Kingmaker’s Daughter) and uses the Wars of the Roses as its backdrop to explore the roles of some of the most powerful women in the country. Elizabeth Woodville, Margaret Beaufort, Anne Neville – all determined to parlay their dynastic power into a real shot at the English throne. Continue reading “TV Review: The White Queen”
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”
Ruth Wilson excels in the intriguing Mrs Wilson, a drama that couldn’t possibly be true…
“You know all you need to know”
Mrs Wilson begins with ‘the following is inspired by real events’ but the truth is even more than that, as main protagonist Alison Wilson is played by Ruth Wilson, who just happens to be her granddaughter. For the story is taken from the extraordinary revelations of her own family history and adapted into a three-part serial here, which is marvellously tense and beautifully filmed.
We begin on an ordinary day in the early 60s as Alison nips home from her job to make a lunch of cold cuts for her novelist husband Alec. He doesn’t make it down to the table though as he’s kicked the bucket and instantly, hints of mystery abound as she hides his wallet and makes a surreptitious phone call. What she doesn’t expect is the knock on the door a few days later from a woman who claim to be his wife. Continue reading “TV Review: Mrs Wilson”
“You don’t know anything about anything, George, and if what they say about the movies is true, you’ll go far”
The end of the silent movie era and the arrival of the talkies has proved fertile ground for many a storyteller, not least Betty Comden and Adolph Green’s immortal Singin’ in the Rain, but Moss Hart and George S. Kaufman’s Once In A Lifetime has a serious claim to being one of the first, premiering as it did in 1930 and its influence is plain to see. It has received major revivals from Trevor Nunn at the RSC (1979) and Edward Hall at the National (2005) and now it is the turn of Richard Jones at the Young Vic, in a production notable for marking the theatrical stage debut of Harry Enfield.
In a new adaptation by Hart’s son Christopher, Once In A Lifetime follows the trials and tribulations of three workaday vaudeville artists from New York who decide to throw in their lot and ship out to Hollywood. With the first ever talking motion picture doing great business, they opt to capitalise on the trend by opening an elocution school to help all those actors who suddenly need to speak on screen but even in its earliest days, the crowded corridors of Tinseltown prove a tough nut to crack with any number of wannabe starlets, studio heads and screenwriters competing for the limelight. Continue reading “Review: Once In A Lifetime, Young Vic”
“I don’t tell the truth, I tell what ought to be the truth. And it that’s sinful, then let me be damned for it!”
As if you could hide the truth about this, surely destined to be one of the shows of the year. Benedict Andrews’ thoughtful updating of Tennessee Williams’ A Streetcar Named Desire makes it seem like the play has always lived in this era and these characters always as freshly vibrant as they are here. The work of Gillian Anderson, Vanessa Kirby and Ben Foster as Blanche, Stella and Stanley is extraordinarily done – the disturbing sheen of sexual violence a tangible and thoroughly believable threat throughout as Andrews pulls no punches in showing us how brutal this world is.
There’s no escaping it either as Magda Willi’s framelike design constantly revolves in front of us as we’re sat in the round. This choice works on so many levels – the dizzying descent that characterises Blanche’s downfall, the relentless passage of time, the voyeurism it provokes from the audience as we crane to see what it sometimes hidden from view (just like the passive neighbours in the New Orleans neighbourhood). It’s not always easy or comfortable but given what we’re watching, why the hell should we be?! Continue reading “Review: A Streetcar Named Desire, Young Vic”