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”
“Demand me nothing: what you know, you know”
Though I’ve been to the theatre a fair bit over the last few years and taken in more than my fair share of Shakespeare, the distribution across his plays has been far from equitable. I’ve seen more Macbeths, Twelfth Nights and Midsummer Night’s Dreams that I can shake a stick at, yet my first and only Othello to date was in Sheffield back in 2011. Not having previously read or studied it, it was never a play that had really appealed and though I really did enjoy that trip to the Crucible, I can’t say I was dying to see it again. But this high-profile National Theatre modern-day update, featuring Rory Kinnear and Adrian Lester under Nicholas Hytner’s direction, proved impossible to resist, not least with preview prices meaning the £48 seats were going for £20 (and with this running time, it was money well spent).
The Venice of the opening is a non-descript place and it is only with the departure to Cyprus, and specifically here a British base on the island, that the military aesthetic of the production comes to full fruition. Vicki Mortimer’s design captures the sun-blasted stone of the Mediterranean location and the claustrophobically stuffy air of the prefab offices and rooms of the military base, with the only real nod to the geopolitics of the modern-day setting a map of the Middle East behind a desk. The production wears the updating quite lightly: on the one hand, nothing feels too forced to fit in with the concept but on the other, it doesn’t always seem like the most inspired. The bland nature of so much of the setting – the generic office, the shared bathroom, the depersonalised bedroom – mutes something of the tragedy, there’s little grandeur on display to match the heights of the emotion.
Continue reading “Review: Othello, National Theatre”