The National Theatre has today announced three new filmed productions have been added to its streaming service National Theatre at Home, including Angels in America Part One: Millennium Approaches and Angels in America Part Two: Perestroika, Marianne Elliott (The Curious Incident of the Dog in the Night-Time, War Horse)’s multi-award-winning production of Tony Kushner’s two-part masterpiece, with a cast including Andrew Garfield (The Social Network), Denise Gough (Paula), Nathan Lane (American Crime Story), James McArdle (Ammonite), Susan Brown (It’s A Sin) and Russell Tovey (Years and Years). Continue reading “News: Angels in America amongst productions added to National Theatre at Home”
“Do you want puppets?”
No matter the weather, as you walk into the Lyttelton’s auditorium for Pinocchio, you’ll find that it is snowing. A simple trick but one that inspires just the right childlike wonder for an adaptation of such a popular fairytale, but it is also a sense of magic that John Tiffany’s production of Dennis Kelly’s adaptation sometimes struggles to hold onto, as darkly disturbing as it is exuberantly heartfelt.
That darkness comes from several directions. The narrative cleaves closely to the moral instruction of a fable so Pinocchio’s struggle with the dark side is presented as a straight-up choice between good and evil – make the wrong choice in dealing with the Fox or the Coachman and things could end up pretty grim, as we witness in a particularly brutal bit of puppet mutilation (it shocked even me!). Continue reading “Review: Pinocchio, National”
“It isn’t easy, it doesn’t count if it’s easy, it’s the hardest thing. Forgiveness. Which is maybe where love and justice finally meet”
In the many aspects of Angels in America that there are to enjoy and appreciate, the richness of Tony Kushner’s writing was not one that I was particularly expecting. But at several points throughout the many, many hours of the two-show press day, it felt like Kushner was almost writing in pull-quotes, such was the vividness of the language that was resonating from the stage of the Lyttelton. So to reflect that, I’m structuring this post a little differently to a traditional review, using some of those quotes to trigger and collect some of my thoughts.
“The great work begins”
Such was the ‘noise’ around this 25th anniversary production of these shows that it was impossible to ignore the fevered level of expectation and that’s something I find a little hard to deal with. I’d never seen them onstage before, nor succumbed to the temptation of watching the HBO miniseries, wanting to be able to make up my own mind about them. But it is so difficult in this day and age, to dissociate from the chatter around the theatre I love. Plus the fact that so many exciting names were attached to the cast and creative listings – Marianne Elliott directing the likes of Oscar nominee Andrew Garfield, Olivier winner Denise Gough, bona fide cultural institution Nathan Lane…I mean who couldn’t get just a bit excited. Continue reading “Review: Angels in America, National Theatre”
All photos by Helen Maybanks
All photos by Helen Maybanks
With public booking for Angels in America opening at 8.30am on Friday 20 January 2017, striking images of its key cast have just been released. 2017 marks the 25th anniversary of the shows which will be directed at the National by Marianne Elliott and its all-star cast make it a very tempting proposition indeed. Millennium Approaches, the first of the two plays which form Angels in America, received its British premiere at the National Theatre’s Cottesloe Theatre in 1992, in Declan Donnellan’s original production, and was joined by Perestroika in a double-bill the following year. Continue reading “Cast images released for Angels In America”
“In you, I found all the pleasure and pain I could ever hope to feel”
All the best birthday celebrations go on for a while and Bristol Old Vic’s 250th Anniversary programme has been no exception, featuring productions from each of the four centuries of the theatre’s life. I took in the Lesley Manville opus Long Day’s Journey Into Night earlier in the year and returned to the South West with great anticipation for the 21st century strand of work, which is the macabre, and excellent, new musical The Grinning Man.
Based on the Victor Hugo novel L’Homme Qui Rit (The Man Who Laughs), the show tells the dark tale of Grinpayne, a young man mutilated as a child who scrapes a living as part of a carnival troupe with his adopted family. Grinpayne keeps the lower part of his face covered but the highlight of the fair comes when he reveals his scarred ‘smile’, a sight that moves people in unpredictable ways, not least the royal family in whose intrigues Grinpayne finds himself increasingly embroiled. Continue reading “Review: The Grinning Man, Bristol Old Vic”
Then this Christmastime you should hit the Old Vic.
The Lorax adapted by scribe David Greig
is so damn delightful for tickets you’ll beg.
Director Max Webster has served up a treat
with such charm no panto could ever compete.
A show for all ages, it’s also a musical,
I had my doubts but it’s something quite beautiful. Continue reading “Review: The Lorax, Old Vic”
“Everybody’s very very nervous”
The theatrical production of London Road was a major success for the National Theatre, the opening run first extending in the Cottesloe and then being rewarded with a later transfer to the much larger Olivier – I was first blownaway by its originality and then later comforted by its message in the aftermath of the 2011 riots. So the news that director Rufus Norris was making a film adaptation was received with apprehensive anticipation, could this strikingly experimental piece of theatre possibly work on screen.
Writer Alecky Blythe uses a technique whereby she records interviews with people which are then edited into a play but spoken verbatim by the actors, complete with all the ums and aahs and repetitions of natural speech. And in 2006, she went to Ipswich to interview a community rocked by a series of murders, of five women in total, all sex workers, and set about telling a story not of salacious deaths but of a community learning to cleave together in trying times. Oh, and it’s all set to the most innovative of musical scores by Adam Cork, elevating ordinary speech into something quite extraordinary. Continue reading “Film Review: London Road”