The National Theatre will return to performances with full capacity audiences from later this month. Additional seating will now be available for performances of After Life from 27 July alongside the previously-announced productions Rockets and Blue Lights in the Dorfman theatre and Paradise in the Olivier theatre, with extra tickets going on sale to the public from Monday 19 July.
Tickets for The Normal Heart, East is East, Manor and Hex on sale to the public from Friday 30 July. Continue reading “News: National Theatre On Sale, July 2021 – January 2022”
The National Theatre announces new programming and launches a major new campaign for its future, National Theatre Together
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn. In the week the theatre reopened for audiences again, six new productions were announced, and five productions halted by the pandemic were confirmed to return to the South Bank.
It has also announced the public launch of National Theatre Together, a new campaign with people at its heart, highlighting the importance of creativity and collaboration with theatre-makers and communities, for young people and audiences. The campaign cements the NT’s commitment to the people of this country and will raise vital funds for the theatre’s ambitious recovery post-pandemic. Continue reading “News: The National Theatre announces 2021-22 programming and launches National Theatre Together”
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 truth is a corrosive thing”
You can head over to Official Theatre to read my 3 star review of Burn Bright Theatre’s “bold but slightly flawed” Vernon God Little at The Space Theatre over on the Isle of Dogs. More show information can also be found here.
Running time: 2 hours 20 minutes (with interval)
Programme cost: £2
Booking until 11th April
“I am Muslim, but my humanness is shared with anyone and everyone. If we choose to love one special person, does it mean that they are the only person worth loving? ‘To you, your religion, to me, mine’. ‘There is no obligation in religion’ – straight from the Quran. We cannot force our religion upon others.”
For all the gnashing of teeth about how ‘national’ Rufus Norris’ newly announced debut season as AD at the NT is or isn’t, there’s actually something much more significant happening right now as part of Nicholas Hytner’s finale. The press attention may be on Tom Stoppard’s return to the stage but over in the Lyttelton, the first South Asian play to run at this South Bank venue is doing that most idealised of theatrical practices – reaching out and engaging with new audiences.
I saw a late preview of Shahid Nadeem’s Dara and I was blown away at how mixed a crowd I was taking my seat with – there’s undoubtedly a more sophisticated debate to be had about people wanting to see stories they can directly connect with rather than being more adventurous but still, it felt like a significant enough matter that I wanted to make mention of. And as critics will be seeing the show with a more than likely traditional press night audience, it isn’t something they’ll necessarily pick up on. Continue reading “Review: Dara, National Theatre”
“There’ll be blood again”
Lorca’s writing is suffused with the heat and passion of his Spanish homeland and his 1932 play Blood Wedding is one of his most famous and oft-performed works. Aria Entertainment’s production uses Tanya Ronder’s recent translation but director Bronagh Lagan often struggles to combine the lyrical poetry and brutal realities of this play, introducing a too-wide range of elements that crowd the essential simplicity of the story.
The show is at its best when it allows simple but striking images to emerge – Miles Yekinni’s Death – a presence haunting the action from the off – appearing unexpectedly from behind a door; the true desire of the Bride breaking free in the middle of a densely choreographed wedding dance; the erect pride with which the Mother conducts herself at all times. And in these moments , this tragic tale of love and betrayal captures the right level of magic realism.
Continue reading “Review: Blood Wedding, Courtyard Theatre”
“This is a potato party”
Expectations are a funny thing. Luigi Pirandello’s reputation as one of our foremost dramatists comes from his metaphysical musings on identity and self but his 1916 play Liolà comes from a very different place and so may leave you nonplussed if expecting something akin to Six Characters in Search of an Author. Instead, Tanya Ronder’s new version directed by Richard Eyre is a rollicking tale full of song and dance, set in a Sicilian village from which most of the men have migrated. The two that remain, Liolà and Simone, are surrounded by a veritable multitude of women with whom a number of complicated relationships are in place.
Ageing landowner Simone married the much younger Mita in order to provide him with the heir he desperately craves but five years of marriage have produced no children. By contrast, local lothario Liolà has knocked up at least three of the local girls and now has three children who are raised by his mother. But when he gets Simone’s young cousin Tuzza pregnant, she and her mother espy a scheme to play on Simone’s fears of childlessness and pass the child off as his own. But Mita and Liolà were childhood sweethearts and together they plot her own revenge. Continue reading “Review: Liolà, National Theatre”
“I have a world map on my door.
‘We’ll see if we can find Lichfield on it later’.”
As the Cottesloe becomes the Dorfman, among other changes, the National Theatre has erected a temporary space called The Shed to keep a third working venue in their complex and opening the programme there, is this original play Table by Tanya Ronder. A family saga that stretches across several generations from 19thcentury Staffordshire to modern day London, taking in trips to hippy communes and East African missions, and with a rather gentle grace, it explores the way in which the actions of our parents impact on the people we become and how easy it is to irrevocably hurt the ones we love.
It’s a densely told story, made more complex by a fracturing of the timeline which sees the focus constantly shifting between time periods, and it may take some getting used to. Rufus Norris marshals his deeply talented cast of nine, who cover thirty characters across six generations of the Best family, with a highly engaging playfulness but it does take a little time for the key pieces to come into focus and for the play to really coalesce into something affecting. But when it does get there, and it was the second half for me, its gentle energy and reflective charm make for a winning combination. Continue reading “Review: Table, National Theatre”
“This is the first time we’ve had a high school massacre in Monteiro”
The first of what will now be three revivals of their own productions in 2011, Vernon God Little returns to the Young Vic having launched Colin Morgan (more familiar as BBC1’s Merlin these days) in his debut role whilst still at drama school. This time, it is Joseph Drake who takes on the title role, fresh out of the Bristol Old Vic theatre school. This is a review of the preview performance on Tuesday 1st February.
Vernon God Little is an adaptation by Tanya Ronder of DBC Pierre’s Booker Prize-winning novel, telling the story of Vernon Gregory Little, a fifteen year old boy trapped deep in small-town Texas. When his best friend snaps and carries out a school shooting leaving sixteen dead, the rapacious television media coverage encourages the public in the search for someone to blame and their gaze lands on Vernon. Things then worse for him as opportunistic people seize their own chances for a glory at his expense and then they get a whole lot worse. Continue reading “Review: Vernon God Little, Young Vic”