Heartbreaking but fiercely essential work. Larry Kramer’s The Normal Heart receives a masterful revival courtesy of Dominic Cooke at the National Theatre
“The only way we’ll have real pride is when we demand recognition of a culture that isn’t just sexual”
A flame lit in respectful silence, shirts whipped off to the pulsing synthline of ‘I Feel Love’, the opening moments of Dominic Cooke’s revival of Larry Kramer’s 1985 play The Normal Heart are full of Pride and perfectly encapsulate one of the key dilemmas haunting its characters. It is New York City in the early 1980s and writer and activist Ned Weeks is struggling to make the wider world understand what to him seems obvious, an unidentified disease is scything through the gay community in alarming numbers.
Plays about AIDS have tended to the operatic in scale – Angels in America and The Inheritance both sprawling over two lengthy parts. So by comparison, The Normal Heart is over in a flicker, coming in well under three hours. And my lord is that a good thing, as the second half in particular is punishingly, essentially, brutal. Prior to the interval, there’s a beautiful sense of world-building – Weeks and his pals bonding over their shared need to do something, battling over the best way to do it. And Weeks also falls in love for the first time, a scene of combative flirting is as entertaining as it is erotic.
Continue reading “Review: The Normal Heart, National Theatre”
The National Theatre has released rehearsal images by Helen Maybanks for Larry Kramer’s The Normal Heart a co-production with Fictionhouse, being performed in the Olivier Theatre in September 2021. Directed by Dominic Cooke, Kramer’s largely autobiographical play about the AIDS crisis in 1980 New York has not been performed professionally in London since its European premiere in 1986.
Ben Daniels will perform the role of Ned Weeks, the co-founder of an AIDS advocacy group fighting to change the world around him, with Robert Bowman, Richard Cant, Liz Carr, Jonathan Dryden Taylor, Dino Fetscher, Daniel Krikler, Daniel Monks, Elander Moore, Luke Norris, Henry Nott, Lucas Rush, Freddie Stabb, Samuel Thomas and Danny Lee Wynter completing the company.
Set design by Vicki Mortimer, costume design by Lisa Duncan, lighting design by Paule Constable, sound design by Carolyn Downing and fight direction by Bret Yount. The Normal Heart will be in the Olivier theatre from 23rd September until 6th November 2021. Continue reading “Rehearsal images for The Normal Heart released”
The National Theatre will return to performances with full capacity audiences from later this month. Additional seating will now be available for performances of After Life from 27 July alongside the previously-announced productions Rockets and Blue Lights in the Dorfman theatre and Paradise in the Olivier theatre, with extra tickets going on sale to the public from Monday 19 July.
Tickets for The Normal Heart, East is East, Manor and Hex on sale to the public from Friday 30 July. Continue reading “News: National Theatre On Sale, July 2021 – January 2022”
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
“You are a curiosity”
American versions of Shakespeare (whether his plays or the man himself) are always worth looking up, even if only for a chuckle and new TNT TV series Will is certainly no exception. There’s some weight behind it – it was created by Craig Pearce, the longtime writing partner of filmmaker Baz Luhrmann and has Shekhar Kapur, who directed the award-winning Elizabeth and Elizabeth: The Golden Age, directing and executive producing and in the role of the Bard himself, there’s a potentially star-making role for British newcomer Laurie Davidson.
I watched the first two episodes and they sure make an arresting introduction. You feel Luhrmann’s influence almost immediately as this is no antiquated version of a sedate Elizabethan London, but rather it is one shot through with bright colours and a punk-filled attitude. Literally so, as they have conceived the burgeoning theatre scene of the time as being akin to the contemporary(ish) world of punk rock – theatres filled with patrons in leather and mohicans, the soundtrack filled with the Clash and drunken singalongs to Lou Reed. Continue reading “TV Review: Will, Episodes 1 + 2”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“It’s amazing what Parliament will do when they feel guilty”
Charles II: The Power and the Passion was a 2003 BBC miniseries the likes of which I doubt we’ll see again in these times of austerity as it was a sprawlingly lavish costume drama, directed by a young Joe Wright. Covering the life and reign of Charles II, it starts just before his restoration to the throne after the death of Oliver Cromwell and runs right through to his death. Thus as 27 years of history are condensed into 4 hours, liberties and dramatic license is freely taken and this isn’t really the place to be too pernickety about this kind of things.
We follow Charles from his libidinous time in exile on the continent to arriving back in London to be crowned King and to lock horns with Parliament. Charles still believed strongly in the absolute power of the monarchy but the politicians of the day were determined not to surrender any of their new-gained influence and so much struggles ensued as members of his court both grew in influence and fell from favour as everyone jockeys for power and to make sure they’re on the winning side. There is also the matter of the succession as Charles has no legitimate heir, though plenty of illegitimate offspring, and wants his brother named but he is a Catholic. Continue reading “DVD Review: Charles II The Power and the Passion”
Arthur Miller wrote The Crucible about the witchcraft trials that took place in Salem in the seventeenth century but at a time when America was gripped in the McCarthyite Communist hunt of the 1950s so much of its message was an attack on the contemporary situation thinly disguised with the veneer of historical parallel. This RSC production which has transferred to the West End after a very successful run is directed by Dominic Cooke.
A group of drunken women dancing naked in the woods late one night starts off rumours of witch-craft and devil-worshipping in the little village of Salem and so begins the witch hunt that ultimately leads to the torture and the execution of innocent men and women as hysteria takes over some and cold political survival dominates the elite’s response even at the expense of human life. It’s quite grim, but its power comes from the resonance that it still has today with the political situation in the USA. Continue reading “Review: The Crucible, Gielgud Theatre”