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”
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”
Series 5 of Line of Duty has some cracking moments, some big revelations and one of Anna Maxwell Martin’s best ever performances
“There’s no secrets in AC12”
So we make it to the end of Series 5 of Line of Duty and it was a lot wasn’t it. A properly tragic couple of deaths, a deep suspicion of a core team member or two and perhaps inevitably, one step forwards and two steps back in the ongoing H conspiracy.
Jed Mercurio’s plotting remains as tightly wound and full of surprises as ever, the reveals in the organised crime group were well done but I think the gang stuff was nowhere near as much fun as the internecine conflicts within the police force itself. Continue reading “TV Review: Line of Duty (Series 5)”
In which Imperium II: Dictator continues a compelling look at (Roman) politics at the Gielgud Theatre but in which I also feel obliged to point out just how male-heavy Imperium skews
“We are at the mercy of the people of Rome”
Previously on Imperium:
- we enjoyed ourselves
- we struggled to differentiate between the many names beginning with C
- we puzzled at why people wore their togas with one bit draped impractically over a forearm
- we marvelled at how shiny everyone’s leather sandals seemed to be
- and we grieved at how woefully the wonderful Siobhán Redmond was underused, at how indeed the whole production treats women
The second part of this summer’s Roman epic – Imperium II: Dictator – continues much in the same vein as the first. Mike Poulton’s adaptation capturing much of the sweeping vistas of Robert Harris’ Cicero novels, and Richard McCabe excelling as that noble Cicero who increasingly reveals himself as all-too–hubristically-human.
But as we reach the seventh hour of drama in this testosterone-heavy world, you can’t help but feel that the women, both of the time and of this company, are relatively hard done by. Between the male gaze of Harris to Poulton to Doran to McCabe, the relentless focus on the political over the personal doesn’t give us much sense of Cicero the man versus Cicero the politician. Continue reading “Review: Imperium II – Dictator, Gielgud”
Imperium I: Conspirator is the entertaining first part of the seven hours of a proper Roman epic from the RSC (thankfully with air-con in the Gielgud Theatre)
“Stupid people tend to vote for stupid people”
With the weather as it is, there are worse ways to spend a day in London than in the blissfully air-conditioned Gielgud Theatre. There, you can partake in the near seven hours of the two-part theatrical extravaganza that is Imperium. First seen at the RSC last winter, Mike Poulton’s adaptation of Robert Harris’ Cicero novels have a suitably epic feel to them and, anchored by an excellent lead performance from Richard McCabe, also have a real thrill factor.
The first part – Imperium I: Conspirator – follows Roman consul Cicero’s valiant efforts to defend the republic and the rule of law against rebellion and rivalries. And in the hands of McCabe, his silky rhetoric is a joy to behold as he secures his primacy, relying on political manipulation where necessary. Whether defeating Joe Dixon’s Catiline, trying to outmanoeuvre Nicholas Armfield’s slippery Clodius or pin down the wildly ambitious young buck named Julius Caesar (a superb Peter de Jersey), his actions are gripping. Continue reading “Review: Imperium I – Conspirator, Gielgud”
The Royal Shakespeare Company has announced casting for the upcoming productions of Imperium parts one and two. Richard McCabe will take on the role of Cicero in Mike Poulton’s adaptations of Robert Harris’ novels alongside Siobhan Redmond as Terentia, Cicero’s wife. Joseph Kloska will play Cicero’s servant Tiro, who narrates their adventures. Continue reading “Full cast of the RSC’s Imperium announced”
“It is known that the Doctor requires companions”
Right – the first season that I haven’t rewatched any of at all. Things get a bit hectic here as once again, the series got split in two, accommodating the mid-season departure of Amy and Rory and the (re-)introduction of new companion Clara Oswald, plus a pair of specials respectively marking the 50th anniversary of Doctor Who and the end of Matt Smith’s tenure as Eleven. It all adds up to a bit of a bloated mess to be honest, though not without its high points.
Amy and Rory feel a little ill-served by their final five, the introduction of Mark Williams as Rory’s dad detracts from their screen-time (yet he doesn’t feature in their farewell?), though the return of the Weeping Angels gives their noirish NY-set exit episode some real heft. And though I admire Jenna Coleman’s confident take on Clara, she’s a hard companion to warm to without any contrasting humanity to go with her intelligence and intensity.
The ‘Impossible Girl’ arc didn’t really tick my box and the grandiosity of Moffatt’s writing for the finale of The Name of…, The Day of… and The Time of the Doctor doesn’t really help (I was curiously unmoved by all the fan-service second time round). Still, Gatiss knocks it out of the park with the superb Ice Warrior tale Cold War and bringing mother and daughter Dame Diana Rigg and Rachael Stirling together on screen for the first time. Continue reading “Countdown to new Who: Doctor Who Series 7”
“There will be no moralising tonight”
Whatever you think a national theatre should be for, I bloody love that Rufus Norris seems to determined to keep diversity near the top of the billing. Whilst it is curious that he’s only committed to ensuring gender equality in terms of the directors and living writers the National Theatre uses by 2021 (I’m sure there’s a reason it takes 5 years), there’s also change happening now in this new production of Bertolt Brecht and Kurt Weill’s The Threepenny Opera.
The first actors we see and hear are George Ikediashi and Jamie Beddard. So what you might say? But they are respectively a cabaret artist better known as Le Gateau Chocolat and a wheelchair-using director, writer, actor, consultant, trainer and workshop leader who has worked across the arts, educational and social sectors (his website). And you begin to see one of the ways how Norris is opening up this venue in an important and hopefully lasting manner. Continue reading “Review: The Threepenny Opera, National”
“For your love I pray you, wrong me not”
Any filmed adaptation of The Merchant of Venice is up against it for me as I adore the Al Pacino version from 2004 which makes so much sense of so many of the difficulties of the play. This Trevor Nunn production was a big success for the National Theatre, transferring from the then-Cottesloe to the Olivier, winning all sorts of awards and then filmed for the US’s Masterpiece Theatre.
And as is often the case with these stage-to-screen adaptations, it’s a little flat and disappointing, little concession made to the change in medium and so the abiding feeling is that one is left wishing one could have seen it onstage. Which is a shame, as Henry Goodman makes an excellent Shylock, viciously vengeful but clearly victimised too in this adroit resituating of the play to the 1930s. Continue reading “DVD Review: The Merchant of Venice (2001)”
“It’s just once you have the thought…”
I was late to my appointment with Doctor Foster, only getting round to watching episode 1 on Monday but I loved it so much (how could I not when the opening subtitle is “belt buckle being undone” and Bertie Carvel soon strips to his boxers) that I mainlined the next three so that I could watch the finale with the rest of the world. Written by noted playwright Mike Bartlett (King Charles III, Cock, Love Love Love amongst many others), it’s a fierce revenge drama anchored by a cracking performance from Suranne Jones as the titular medic with the errant husband.
From the moment she discovers a long blonde hair on her husband’s scarf, the scene is set for an almighty showdown but Bartlett’s skill is in stretching that moment tantalisingly over the entire series. Secret after secret tumbles out of the closet as she pulls at the thread but almost as destructive as his conduct (and Carvel is brilliantly craven as the slippery Simon) is the behaviour it unleashes in Gemma, her forthright determination cutting swathes through her employment prospects, her friends and neighbours and even her relationship with their 11-year-old son Tom. Continue reading “TV Review: Doctor Foster, BBC1”