The National Theatre today announces the on-sale dates of upcoming productions Trouble in Mind, Wuthering Heights and Small Island, as well as the return of daytime opening for visitors. Tickets go on sale to the public on 7 October.
For the first time since March 2020, the public spaces at the National Theatre will be open during the day for visitors and audiences alike. The National Theatre has partnered with independent street food pioneers KERB on a completely refreshed food and drink experience. With a focus on locally-sourced produce, KERB will curate an outstanding food offering throughout the 11 spaces and restaurants with their renowned network of street food start-ups and independent restaurateurs. The first phase of this transformation will begin from today with KERB at The Understudy and the opening of the Atrium Café on the ground floor. Further restaurant and bar redevelopments will follow this year and next. Continue reading “News: National Theatre plans November 2021 – February 2022”
“You have to live in this world”
The lure of falling down the rabbit hole is one which has kept adaptations of Lewis Carroll’s Alice in Wonderland appearing on a regular basis on screens and stages and the Manchester International Festival is no exception, commissioning this musical treatment with the National Theatre and Paris’ Théâtre du Châtelet. Composer Damon Albarn (no stranger to the MIF after Monkey and Dr Dee) and writer Moira Buffini’s thoroughly modern version – stylised wonder dot land – certainly has a unique take on the story but has the feeling of something of a work-in-progress perhaps, no bad thing as longer runs in London and Paris will follow this brief engagement at the Palace Theatre.
Here, wonder.land is an online world, a virtual reality where people can escape the drudgery of their own lives or pretend to be someone completely different, for a little while at least. 12-year-old Aly is one such person, trying to hide from the bullies at school and the unhappiness at home by becoming Alice, her all-conquering avatar or online identity who accepts a mysterious quest as part of joining wonder.land. And in her journeying, she comes across variations on many of the characters we’ve come to know but viewed through a different prism, many of them being the avatars of other players, balefully reflecting their own insecurities. Continue reading “Review: wonder.land, Palace Theatre”
“100 metres can feel like a marathon”
For the longest time, I was sure that I didn’t want to see Chariots of Fire, not least because the hoarding for this Hampstead Theatre transfer into the Gielgud finds it necessary to call it Chariots of Fire on stage, as if it could be anything else in a theatre. But Mike Bartlett, who adapted the film, is a writer I like and a change of cast meant Gabriel Vick, an actor whose charms I, erm, appreciate, was able to tempt me there on the final day of the (curtailed) run. The most arresting aspect of Edward Hall’s production is Miriam Buether’s design which snakes a running track around the front stalls and puts audience members on the stage – it makes for constant visual interest and not just for the men in shorts.
As a story set around the Olympics (Paris 1924), when the production was first announced it felt like a bit of a cash-in to the upcoming Games (London 2012) and sure enough, a West End transfer was announced even before it began. And to be honest, I’m not sure that it really stood up as a piece of effective theatre when separated from all the 2012 buzz. I’ve never seen the film so I wonder if this had an impact, but essentially the thrill of having athletically performed athletic races aside, it was rather dull. Continue reading “Review: Chariots of Fire, Gielgud Theatre”
“These aren’t the results we were expecting”
Of all the new plays that I saw last year, it would have taken me a long time to arrive at Earthquakes in London as being the one which would receive a national tour. Not because it wasn’t good, in fact I really enjoyed Mike Bartlett’s slightly flawed epic ambition, but because the National Theatre production was intrinsically linked to the way in which Headlong utterly transformed the Cottesloe auditorium with Miriam Beuther’s design with its serpentine catwalk, trapdoors, bar stools and cutaway stages. But never ones to shirk a challenge, Goold and Headlong, along with touring director Caroline Steinbeis, have remounted the show into a tour-able format which I caught at Richmond Theatre.
My original review can be read here and it was actually quite nice to be able to revisit the show a year later in the context of his other 2010 work Love Love Love and especially in a week when I had also caught Bartlett’s latest epic work 13. Knowing what to expect makes a world of difference: I didn’t feel the length of the show – 2 hours 55 minutes here – whereas people new to it all commented on it; one was able to take in more of the detailed work of the company alongside the razzmatazz which was sometimes a little distracting; and even the final sequence, something that I wasn’t hugely keen on last time, made more sense this time round and felt like the necessary balancing of tone to keep the play from being too despondent. The central conceit of the intertwining stories of the three sisters remained strong and the jumps around time were also effective, possibly more so for knowing exactly what was going on in them from the off! The scale of the storytelling is occasionally unwieldy in reaching to be epic , but I don’t think any other writer in the UK is stretching themselves this much and whilst it may not all come off, I thoroughly admire the scope of his ambition. Continue reading “Review: Earthquakes in London, Richmond Theatre”