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”
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”
“There’s another man with claims on me”
Harold Brighouse’s 1916 play Hobson’s Choice is regarded a good old-fashioned British classic and features on the NT2000 Top 100 plays list so when a production was announced at the Bolton Octagon earlier this year, I was keen to see it for the first time. Sure enough, having made that trip the Open Air Theatre then announced their own revival at the distinctly more convenient location of Regents Park but hey ho, you can’t win ‘em all.
And in all honesty, I did prefer the bona fide Northern version. Nadia Fall’s production here feckles the show a little too much, moving it into the 60s which undoubtedly gives it a brighter sense of modernity but one which also flies in the face of many of the gender relationships of the play – the huge social change of the time is quietly forgotten for the most part, an inconvenient truth when so much of the writing is about specific notions of parental obedience and the bestowing of dowries. Continue reading “Review: Hobson’s Choice, Open Air Theatre”
“We must stay positive my dear, and hope that he at least died in a duel”
The jewel in the BBC’s Christmas programming for 2013 was the adaptation of PD James’ Death Comes to Pemberley, her continuation of Jane Austen’s Pride and Prejudice but in the vein of her own murder mystery style. Stripped over three days (because schedulers don’t seem to believe we can wait between episodes any more), the trio of hour-long, lusciously-filmed episodes were perfect for plumping in front of the telly for, without having to engage the brain too much, and proved an interesting exemplar of both the weaknesses and strengths of James’ enterprise.
The story begins six years after the wedding between Elizabeth Bennet and Fitzwilliam Darcy as the preparations for their annual ball are rudely disrupted by the wayward arrival of Lydia’s coach and her breathless announcement of murder. An investigation into the woods around Pemberley soon reveals a body and it is Lydia’s husband the dastardly Mr Wickham who is suspected of the deed. Thus follows a crime procedural (of sorts) as Lizzie and Darcy try to get to the bottom of who exactly killed the man, whilst negotiating their tangled history of their families and trying to avoid social shame. Continue reading “TV Review: Death Comes to Pemberley”
“We have traditions, gentlemen’s agreements…things to help us to the best we can”
It’s always nice when karma works out in your favour. A clash in the schedule meant that I had to return my original ticket for This House and as the run was completely sold out, I was doubtful that I’d get to see the show. But as it turned out, standing tickets in the pit had just been released and so for the princely sum of £5, I was able to take in an early preview of James Graham’s new play for the National Theatre.
Set in the halls of Westminster across the incident-ridden 1974-1979 parliament, This House occupies that strange ground of fictionalised reality that so many playwrights seem to love. Graham has taken inspiration from the real events of the time – the hung parliament, economic crises, changes in leadership and a surprisingly high mortality rate among MPs – and created his own version of events. His focus lies with the whips on both sides and it is from their perspective that we see events occur, as they troubleshoot left, right and centre, struggle to control their wayward members and do deal after deal with their opposing counterparts, observing the age-old traditions and principles that serve in place of a constitution. Continue reading “Review: This House, National Theatre”
“I don’t know anything about Strindberg but it don’t sound practical to me”
The other part of the Young America mini-season at the National, Spring Storm is Tennessee Williams’ second play, written whilst still at college and this is apparently the first time the play has been performed in Europe. Set in the Mississippi delta, Southern belle Heavenly has almost everything a young woman could desire, but when she’s forced to decide between dull and respectable suitor Arthur and her handsome, wild lover Dick, her actions cause a chain of consequences that tear their lives apart.
I loved the fact that the central love triangle was cast the same as in Beyond the Horizon. As the impassioned Heavenly, Liz White is superb, throwing herself about with gay abandon in search of the grand amour that will satisfy her beating heart but also aware of the need to secure her position in life to avoid spinsterhood. Her performance here could have been the younger cousin of Rachel Weisz’s Blanche DuBois, one can definitely see how Williams’ incubated that character here. As her suitors, Michael Malarkey does better as the dull and mannered but rich Arthur, playing him with a real note of sadness , carrying much baggage from childhood. As the more masculine, rugged Dick, Michael Thomson brings such a real sexuality and physicality that one can see why Heavenly is reluctant to quit him, but it would have been nice to see more to him than the dumb jock. Continue reading “Review: Spring Storm, National Theatre”
“You and me ain’t like most brothers”
As part of a ‘Young America’ season, Beyond the Horizon, the first play by Eugene O’Neill is being performed in rep with Tennessee William’s second play, Spring Storm at the Cottelsoe at the National Theatre. Originally produced by the Royal & Derngate in Northampton, the two works have been transferred down with their original casts, who play roles in both works, showing the connections between these two American playwrights as they formed their artistic visions.
Set on a rural New England farm, we follow the lives of two brothers Andy and Rob Mayo. Andy has taken on his father’s mantle with a great knack for farming and an understanding of the land whilst Rob is a dreamer with no interest in farming and a hankering for discovering life and the world beyond the horizon. When a declaration of love intervenes with the plans that have been made in order for the brothers to follow their dreams, a chain of decisions is set in motion and the play then traces the consequences of these actions through the ensuing years. Continue reading “Review: Beyond the Horizon, National Theatre”