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”
The second series of Jonathan Creek continues the good form of the first, even if the writing starts to verge on the misogynistic
“There’s always an explanation”
After the success of its first season, Series 2 of Jonathan Creek followed in short order in early 1998. And having firmly established its modus operandi of impossible crimes and simmering but awkward sexual chemistry between Akan Davies’ Jonathan and Caroline Quentin’s Maddy, it carries on ploughing that same furrow.
This series sees Stuart Milligan added to the mix as Adam Klein, replacing Anthony Head who got the job as Giles on Buffy and whilst he is a vividly entertaining character, his presence seems to allow writer David Renwick to indulge in some misogynistic touches over and above what might be ‘forgiven’ for being 20 years old, just look at the way Adam and indeed Jonathan treat the majority of the women in their life… Continue reading “TV Review: Jonathan Creek, Series 2”
Friday theatre news from the National Theatre, Everybody’s Talking About Jamie and Roles We’ll Never Play
In a canny move, the National Theatre is bringing panto to its main stage as Jude Christian and Cariad Lloyd’s hilarious and heartfelt version of Dick Whittington, first staged at Lyric Hammersmith in 2018 and freshly updated for 2020, will open in the socially distanced Olivier theatre on 11th December.
Directed by Ned Bennett, this wild and inventive production explores what it is like to come from a small town and arrive in a big city today, exploring the ideas of community and togetherness. Initial casting includes Dickie Beau, Amy Booth-Steel, Lawrence Hodgson-Mullings, Georgina Onuorah, and Cleve September.
They have also announced the next show to open as part of the Olivier in-the-round season in February 2021 is Larry Kramer’s The Normal Heart, in a co-production with Fictionhouse. 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 Danny Lee Wynter as Tommy Boatwright, Daniel Monks as Mickey Marcus and Stanley Townsend as Ben Weeks. Vicki Mortimer is Set Designer and Paule Constable is Lighting Designer.
Tickets for The Normal Heart will go on sale from the end of November. Continue reading “News: Friday theatre update from the National Theatre, Everybody’s Talking About Jamie and Roles We’ll Never Play”
With the loss of its original core cast and the destabilising presence of Martine McCutcheon, Series 4 of Spooks struggles to find its feet
“You’re up against the British state…who do you think is going to win that particular battle?”
This season of Spooks struggles quite badly amidst all the upheaval of Series 3 in which in the entire original team departed Thames House. Tom’s identikit replacement Adam does well enough but somehow, something goes terribly wrong with the introduction of his wife and fellow spy Fiona (Olga Sosnovska). They sadly lack chemistry and their domestic drama just doesn’t translate well into the business of saving the country on a weekly basis.
The tone is set by the randomly chaotic energy of Martine McCutcheon’s guest spot in the opener two-parter and from then on, as we cover people smuggling, the rise of far right political movements, cultists and the ethics of releasing terrorist suspects, the series jerks along rather, Raza Jaffrey’s Danny-a-like isn’t given anywhere near enough to do and the snaffling of Miranda Raison’s Jo off the street is as bizarre an advert for recruitment as any.
It’s a pretty low-key series for Ruth – hints of her passion for Harry come through whether in romantic feeling or rebelling against him a bit. She comes into her own in the final episode with the revelation of a step-brother who killed himself but has never been mentioned before putting her in the line of fire but all in all she deserves better. Continue reading “Lockdown TV Review: Spooks Series 4”
Ivo van Hove’s take on All About Eve ticks all my boxes at the Noël Coward Theatre, great work from Gillian Anderson, Lily James and a stellar Monica Dolan
“I’ll admit I may have seen better days, but I’m still not to be had for the price of a cocktail, like a salted peanut”
This isn’t the production to change people’s mind about Ivo van Hove. His style is so thoroughly ingrained, his team of collaborators so deeply embedded, that you couldn’t play a drinking game watching one of his shows and stay standing. Live video feed, drink! Backstage people wandering round, drink! A moody slow rise, drink! But what you also get is an amazing calibre of actor throwing themselves headlong into the work, ever-innovative ways of using theatrical space, and the kind of emotional intensity that remains rare. Drink drink drink!
Now that we’re comfortably sloshed, I can tell you that I loved All About Eve (and I only had one G&T, honest). You’ll have to look elsewhere for critiques on how good an adaptation of Joseph L Mankiewicz’s film of the same name and Mary Orr’s play The Wisdom of Eve it is, I ain’t seen either and wanted to go into this sight unseen. What I can talk about is the startling insight offered by the actress’s-eye view, projected onto screens from a camera built into a dressing room mirror. About Gillian Anderson’s titanic performance. About Sheila Reid’s welcome return to the stage. About Monica fucking Dolan. Continue reading “Review: All About Eve, Noël Coward Theatre”
So much to keep on top of – pics from All About Eve, videos from Waitress, foodie secrets from Gingerline and casting news from Emilia
We’re just three weeks away from All About Eve starting previews and these rehearsal pics ought to whet anyone’s appetite.
And more importantly if you’ve not booked yet, details have been released about day seats and a front row lottery – this will definitely not be one to miss.
Day Seats: Available in person at the Box Office from 10am on a first come, first served basis. Maximum x2 per person. Limited availability. £25.00 per ticket.
Front Row Lottery: In partnership with Today Tix. More information on how to enter will be announced on the All About Eve social media channels from Friday 25 January 2019. Maximum x2 per person. £25.00 per ticket. Continue reading “Some goodies for a cold January Thursday”
Best Actor in a New Production of a Musical
Alex Wadham, The Full Monty: The Musical, Old Joint Stock Theatre, Birmingham
Giles Terera, Hamilton, Victoria Palace Theatre
Jamal Kane Crawford, Fame, UK Tour
Jamie Muscato, Heathers The Musical, The Other Palace/Theatre Royal Haymarket
Louis Maskell, The Grinning Man, Trafalgar Studios
Marc Antolin, Little Shop of Horrors, Regent’s Park Open Air Theatre
Best Actor in a New Production of a Play
Aidan Turner, The Lieutenant of Inishmore, Noël Coward Theatre
Ben Batt, The York Realist, Donmar Warehouse/Crucible Theatre, Sheffield
Ian McKellen, King Lear, Chichester Festival Theatre
Matthew Tennyson, A Monster Calls, Old Vic
Reed Birney, The Humans, Hampstead Theatre
Tyrone Huntley, Homos, Or Everyone in America, Finborough Theatre Continue reading “2018 BroadwayWorld UK Awards Shortlist”
“We’re a dying breed”
Obviously, the choice to stage David Mamet’s ode to toxic masculinity Glengarry Glen Ross was made long before the hashtag #MeToo shattered the blinkers of anyone unaware of what men have been getting away with. But it feels indicative of a theatrical culture that has reflected and reinforced a societal imbalance – all-male plays, written by men, directed by men, lauded by prize ceremonies and thus easy targets (and safer bets) for revivals, a self-perpetuating loop that doesn’t seem to even be coming close to stopping.
And why should it, one might argue. Sam Yates’ production is astutely cast and tightly wound as it visits the world of Chicago real estate. Firstly through a set of short duologues in a Chinese restaurant in which we variously meet a set of salesmen and discover their place in the pecking order. And then after the interval, they’re all brought together in their office (an impressive almighty set change from Chiara Stephenson) which has been broken into and where all the frustrations and feelings they’ve been bottling up now come tumbling free. Continue reading “Review: Glengarry Glen Ross, Playhouse”
“There’s something I’ve got to do tonight”
I’m going to call it taking one for the team. Faced with the prospect of Girl From The North Country disappearing into the ether (albeit having left an excellent cast recording behind), I took the plunge and booked myself back into the Old Vic in the show’s final week. So of course, a West End transfer has now been announced, which is great news for something which (spoilers) is likely to figure highly in my end-of-year round-up. It will open at the Noël Coward Theatre in December (casting news still to be announced though) and will be well worth the trip.
Running time: 2 hours 30 minutes (with interval)
Booking until 7th October