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”
“Like sands through the hourglass…”
The quote above is not actually from Alan Hollinghurst’s new version of Racine’s 1670 play Bérénice, but to be honest, no lines from it stuck in my head long enough over a post-show drink for me to record them and thus we have Days of our Lives… The reason that that came into my mind is because the predominant image of Lucy Osborne’s striking design of Josie Rourke’s production is of streams of sand tumbling from the ceiling even as we enter the auditorium, which has been partially reconfigured into the round, with stalls right being shifted 45 degrees to where the stage usually is but the circle seats remaining where they are.
Bérénice has long been in love with Titus, but as she is a Palestinian queen and he is the new Emperor of Rome, theirs is not an easy romance. He decides to finally take her as his wife now that power is his but when he discovers that the Roman public are not that keen on the prospect of a foreign queen, Titus is forced to weigh his personal feelings against his imperial duties. He sends his best friend Antiochus to comfort Bérénice though it soon becomes apparent that he is also in love with her and so a tangle of pained feelings and unfulfilled passion plays out between the trio. Continue reading “Review: Bérénice, Donmar Warehouse”
“She loves my brother – I’ll have to console myself with his pain”
Timberlake Wertenbaker’s new translation of Racine’s Britannicus updates the action to the modern day even though the story remains centred on a day in the life of Roman Emperor Nero. His power-hungry mother Agrippina manipulated things so that the succession passed to her favourite son Nero rather than rightful heir Britannicus after the death of Emperor Claudius, but her lust for power has passed down the bloodline. Rome shudders as Nero establishes himself politically, leaving Agrippina feeling increasingly marginalised, made worse by setting his gaze on his brother’s lover Junia.
Wilton’s Music Hall is such an atmospheric and idiosyncratic venue that I always want productions there to utilise it to its best potential so I have to admit to being a little disappointed by Chloe Lamford’s design which feels too modern and out of place. But Irina Brown’s direction makes inventive use of the space and also does make sense of the updating, Siân Thomas’ Agrippina channelling Thatcher vibes throughout as a woman battling in a male-dominated arena and the political intrigue that dominates everyone’s life whether they want it or not is immediately recognisable, no-one knows who to trust in this world of slippery political double-speak. Continue reading “Review: Britannicus, Wilton’s Music Hall”
In surely one of the most anticipated theatrical events of the year, Dame Helen Mirren returns to the stage for the first time in five years, to the Lyttleton at the National Theatre. Phèdre was written by Jean Racine back in the seventeenth century, and this production uses a translation by the late Ted Hughes in his typical free verse style. As it is my second Dame in three weeks, my companion for the evening was once again Aunty Jean, and this review was greatly helped by our post-play discussion over a nice cool G&T.
It is a quintessential Greek tragedy: the queen Phèdre lusts after her stepson, and in the absence of her husband Theseus for several months and the dubious advice of her nurse, eventually succumbs to her desire. Unsurpisingly, the revelation is not well received and then matters are made immeasurably worse by the return of Theseus. In her desperation to conceal her illicit attraction, Phèdre then makes a terrible accusation which sets in motion a chain of disastrous events. Continue reading “Review: Phèdre, National”