Ahead of National Theatre at Home’s one year anniversary on 1 December, the National Theatre has today announced the next filmed productions to be added to the streaming service, which is supported by Bloomberg Philanthropies.
Joining the platform today is Simon Godwin’s critically acclaimed 2018 production of Antony & Cleopatra in the Olivier theatre, with Ralph Fiennes and Sophie Okonedo playing Shakespeare’s famous fated couple. Then the iconic and multi-award-winning production of War Horse, based on the novel by Michael Morpurgo, will be available from 1 December until 31 January 2022 on demand internationally for the first time since its premiere 14 years ago. It will be available with British Sign Language, audio description and captions. Continue reading “News: One year of National Theatre at Home – New titles added”
I turn to a rewatch of Jonathan Creek to get me through Week 2 of Lockdown #2 and enjoy the freshness of the first series
“No one could have killed your husband and then left this room”
Starting in 1997 and memorably co-opting Saint-Saëns’ renowned ‘Danse Macabre’ for its theme tune, mystery crime thriller Jonathan Creek occupies a happy place in my TV memories, so I was a little hesitant at first in case it didn’t match up to how I remembered.
From cracking seemingly impenetrable alibis, to working out how to escape a nuclear bunker, to locked room mysteries of all sorts, it turns out David Renwick’s writing holds up rather well. The plotting is sufficiently twisty that it is nigh on impossible to figure out who and certainly howdunnit and I remembered none of the important details so it was like watching it anew. Continue reading “TV Review: Jonathan Creek, Series 1”
In which the rollercoaster of quality rockets sky-high again, Series 7 of Spooks ranks as one of my favourites
“I want my team to know why I acted the way I did”
The introduction of series-long plots didn’t necessarily work first time round for Spooks but in Series 7, the magic certainly happens to produce one of the best seasons across its decade-long life. Perhaps the reduced episode order from 10 to 8 helped to refine the effectiveness of the storytelling, recognising that it was Adam’s time to go definitely worked and finally made the right kind of room for Ros to rise, and giving Gemma Jones this material was an absolute masterstroke.
Undoing the silly fakeouts of Ros and Jo’s ‘deaths’ right from the off, the introduction of Richard Armitage’s Lucas North also works well, his time in Russian captivity casting a nice shade of doubt over his presence in the team, a marked difference to the alpha males of Tom and Adam. And the ongoing Sugarhorse mystery is skillfully wound throughout the whole season, coiling ever-tighter until the hammer blows of a properly fierce finale.
She’s just a distant memory at this point – Harry really is such a fuckboy. Continue reading “Lockdown TV Review: Spooks Series 7”
“Hate the critics? I have nothing but compassion for them. How can one hate the crippled, the mentally deficient, and the dead?”
The outdated ramblings of a doddery old man – funny how art can reflect life… Any opinion I might have had about Ronald Harwood’s The Dresser inevitably comes tainted with his apparent inability to open his mouth without spouting some kind of crap or other. Last month it was claiming casting women in male Shakespearean roles as “astonishingly stupid”, earlier this year it was using his will to ban women from playing the lead role in this very play. At 81, he’s clearly of a different generation but I’m certainly not inclined to indulge him in a way one might one’s own casually intolerant older relations.
His 1980 play The Dresser is based on his own experiences as a personal stagehand to actor-manager Sir Donald Wolfit and closely too. Wolfit was known for his wartime Shakespearean tours, particularly his King Lear, and so Harwood gives us an increasingly decrepit thesp (Ken Stott) on an interminable regional rep tour in the midst of the Second World War. ‘Sir’ is due onstage (in Lear, natch) and his long-suffering dresser Norman (Reece Shearsmith) is the only one who can get him there, for he is caught in the throes of mental and physical disintegration. Continue reading “Review: The Dresser, Richmond/Duke of York’s”
“As if Hollywood would come to Coventry”
For whatever reason, I hadn’t ever gotten round to watching festive film Nativity since its release in 2009 but its broadcast on BBC1 meant I finally got the opportunity to be thoroughly won over by its lo-fi festive spirit. Written by Debbie Isitt but also partially improvised by the cast, it nails that typical (successful) Brit-flick style with all its deprecatory charm and underdog spirit, along with an unexpectedly effective original musical score.
Nativity centres on an inter-school rivalry in Coventry, where private primary school Oakmoor consistently produce the best-received nativity show. This year, the headteacher of St Bernadette’s has something to say about that and so puts curmudgeonly Christmas-hater Paul Maddens (Martin Freeman) in charge of their show, aware that his old drama school friend and rival Gordon Shakespeare (Jason Watkins) is the one succeeding at Oakmoor, Continue reading “DVD Review: Nativity”
“You wouldn’t see Harold Pinter pushing vans down the street”
It is more than 15 years since Maggie Smith starred in Alan Bennett’s The Lady in the Van in the West End but one can only imagine that the intervening years have deepened and enriched her performance as in this cinematic version, directed by Nicholas Hytner, she is just fantastic. The titular lady is Miss Shepherd, a cantankerous homeless woman who sets up shop on a Camden street in her junk-filled camper van and strikes up an unlikely friendship with Bennett, in whose driveway she eventually convinces him to let her park.
This happened in real life to Bennett, she spent 15 or so years there in the end, and amping up the realism, the film was shot on location in the real street but it is also a highly theatrical version of events. Alex Jennings plays two iterations of Bennett, one the somewhat timid man, the other the acutely observational writer inside, and they often argue with each other, disagreeing on whether things happened a certain way, and debating his various reasons for letting Miss Shepherd so totally into his life. Continue reading “Film Review: The Lady in the Van”
“I’m so sick of this acting thing, it’s just not working out”
If Woody Allen’s Match Point had been set in the Hamptons as it was originally meant to be, I think I would really like this film but as it is, its relocation to London proves to be a constant distraction as this glossily cinematic version of my hometown is often ludicrous. Yes it is fiction and yes it is set in the world of the idly uber-rich with all their casual trips to Ralph Lauren and chauffeured cars but as with James Bond surfing down the escalators on the tube in Skyfall it’s the little things that draw the attention.
From the unrelenting RP accents to scarcely believable dialogue in the “London Police”, the revelation that being “born in Belgravia” is the key to a lifetime of cultural invitations and the insistence on only showing postcard-pretty shots of London, Match Point has little anchoring in the real world and especially not in the city where it is now set. Putting aside the unlikelihood of shop workers being able to afford cabs home everyday and even worse, neighbours actually talking to each other in a friendly manner, it’s all just so superficial. Continue reading “DVD Review: Match Point”
“Through all the drama — whether damned or not —Love gilds the scene, and women guide the plot.”
The main beauty of Selina Cadell’s production of Richard Brinsley Sheridan’s evergreen The Rivals is her mastery of the Restoration form which sees no fourth wall separating players and punters. So on taking the stage, her actors acknowledge the audience in their own ways – awkward bows, tacit nods, arched eyebrows – and continue to address us throughout, an expositionary monologue here, an announcement of the scene’s location there, a gossipy aside everywhere. What really makes it work though is the warmth and wit with which the company fold us into its welcoming arms.
With a wicked glint in her eye and wryly pursed lips, an extravagantly dressed Gemma Jones ensures her Mrs Malaprop reaches the very pineapple of her comic potential and with no less captivating humour, Nicholas Le Prevost makes even the lewdest of Sir Anthony Absolute’s comments a hilarious part of his incorrigible charm. They have decided that her niece Lydia Languish and his son Captain Jack Absolute are an ideal match but young Lydia – an outrageous Jenny Rainsford who plays her on the edge of sanity to hugely entertaining effect – has her heart set on the romantic, and penniless, hero of her dreams. Continue reading “Review: The Rivals, Arcola Theatre”
“We’ve got two hours to show the vast range of work the National has done over the last 50 years by staging scenes from some of the most memorable shows – there are more than 800 to choose from”
Celebrating a notable half-century of the South Bank institution, National Theatre – Fifty Years on Stage proved a remarkable evening of theatre, gratefully captured on film so that its reach could indeed be closer to national than the capacity of the Oliver would allow. And Nicholas Hytner did a fine job of representing the illustrious past, showcasing 30 or so productions, mainly through live performance but also with some choice trips to the video archive.
The snippets of archive footage were delightful – from Robert Stephens, Maggie Smith and Olivier carousing in The Recruiting Officer and Smith with Anthony Nicholls in Hay Fever to Fiona Shaw’s incredible Richard II and Ian McKellen’s exceptional Richard III. And always alive to the connections to the past, we opened with the first scene of Hamlet featuring Sir Derek Jacobi as the ghost, revisiting the play in which he played Laertes in the very first production on this stage, And we end in a similarly ghostly manner, as the voices of Adrian Lester and Rory Kinnear giving us Othello give way to a recording of Laurence Olivier and Frank Finlay from 1965
Of the live performances, I loved Joan Plowright returning to Joan of Arc to spinetingling effect, the same with Judi Dench’s Cleopatra. Dench has a superb night in all, reprising her highly affecting rendition of A Little Night Music’s ‘Send in the Clowns’ too. And also doing it for the dames, Helen Mirren scorches in Mourning Becomes Electra, opposite Tim Pigott-Smith. And the tidbits of ‘productions we’ll never see’ were a constant delight. Kobna Holdbrook-Smith and Benedict Cumberbatch enlivening Rosencrantz and Guildenstern are Dead no end, Ralph Fiennes and Charles Edwards teasing what they could do with Pravda, Andrew Scott and Dominic Cooper promising the world with a near-perfect slice of Angels in America. I also really enjoyed the dream cast of Arcadia, Anna Maxwell Martin and Jonathan Bailey making Stoppardian magic with Rory Kinnear and Olivia Vinall, you just wish that we could somehow get longer with all of them.
Perhaps inevitably, there’s a slight whiff of the largely male, pale and stale to proceedings. Tripping from Coward to Pinter to Ayckbourn is a natural reflection of the way things were but there’s a slight danger in perpetuating that state of affairs. There’s of course a thrill in seeing Jacobi and Michael Gambon’s excerpt of No Man’s Land but you have to hope that the future (100 Years on Stage?) is able to showcase a wider range of dramatic talent to reflect a truly national theatre.
“People spoil things”
Were I watching Alan Bennett’s new play People at home on DVD, I would probably make it a drinking game, with a shot to be taken every time the title appears. Except it wouldn’t last very long at all, no matter how strong your liver, as it is repeated, repeated and repeated in this lament for the fading fortunes of the English aristocracy. Dorothy Stacpoole, a former model who now lives a semi-reclusive life with her companion Iris, is being forced to decide the fate of her near-decrepit South Yorkshire stately home: should some of the contents be sold on to private investors, who are also interested in buying the whole house, or should it be given to the National Trust, who Bennett has decided to take aim at with this piece of writing.
In an incredibly slow-moving opening 30 minutes or so, it becomes apparent that Dorothy – Frances De La Tour oozing hauteur – favours the former option, whilst her Archdeacon sister June is determined that it should be the latter. Bennett rails against the commodification of history and the creation of ‘experiences’ but curiously he makes Dorothy the mouthpiece with her fears of having people traipsing through her home and disrupting her life. Quite why we’re expected to feel sympathy for this poor little (formerly) rich girl whose inability to take responsibility has left the house, and her life, in the state it is in, I’m not sure. Continue reading “Review: People, National Theatre”