The National Theatre has announced the latest productions to be made available on its National Theatre at Home streaming platform. Launching today, the Young Vic and Joshua Andrews’ production of Tennessee Williams’ timeless masterpiece A Streetcar Named Desire featuring Gillian Anderson as Blanche DuBois, Ben Foster as Stanley and Vanessa Kirby as Stella, the NT’s recent production of Dylan Thomas’ Under Milk Wood with Michael Sheen and Nadia Fall’s verbatim play Home that explores homelessness in the UK featuring Michaela Coel. New productions are added each month and since launching in December 2020, there are now 31 productions available to stream on the platform.
It is also announced today some of the productions that audiences can expect to see on the platform in the coming months. Those productions are confirmed to include Antony & Cleopatra with Ralph Fiennes and Sophie Okonedo in the title roles; Hedda Gabler with Ruth Wilson in the title role; Caryl Churchill’s Top Girls in the Lyttelton theatre from 2019; Sally Cookson’s 2017 production of Peter Pan; Yaël Farber’s Salomé and James Graham’s political drama This House, alongside current NT productions; Kae Tempest’s Paradise with Lesley Sharp and Winsome Pinnock’s Rockets and Blue Lights. Ian McKellen on Stage will also join the platform this autumn for audiences outside the UK and Ireland. It is currently available in the UK and Ireland for Amazon Prime subscribers. Continue reading “News: National Theatre adds new productions to streaming platform NT at Home”
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”
National Theatre at Home continues its home programming with both versions of Frankenstein with Benedict Cumberbatch and Jonny Lee Miller and Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo, plus there’s a National Theatre at Home Quiz
Following on from the success of its opening set of transmissions – One Man, Two Guvnors was viewed over 2.5 million times in the week it was available – the National Theatre has announced the next two productions it will be airing as part of National Theatre at Home. 2011’s Frankenstein with Benedict Cumberbatch and Jonny Lee Miller sharing its two main roles and 2018’s Antony and Cleopatra, starring Ralph Fiennes and Sophie Okonedo.
Both productions will be free to stream, premiering at 7.00PM BST and then available on demand for seven days. Further productions to be streamed as part of National Theatre at Home will be announced soon.
Today also sees the launch of the National Theatre at Home Quiz, to be played from home featuring familiar faces from the world of stage and screen as the quizmasters. Each quiz will include rounds of five questions on a wide variety of topics.
On the final Monday of each month people will be able join the virtual quiz directly from their homes via the NT’s YouTube channel and Facebook page live at 7pm. The first quiz will be on Monday 27 April with quizmasters Dame Helen Mirren, Sir Lenny Henry, Lesley Manville, and Sir Ian McKellen asking questions on topics including history, sport, nature, and of course, the National Theatre (bagsy team Manville).
During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and
Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson
Twelfth Night – Marc Brenner
The effect of coronavirus on The Effect at the Boulevard Theatre, is robbing us of what was sure to be a striking revival of Lucy Prebble’s play
“We are facing an everyday epidemic”
With lines like the above, you wonder how Lucy Prebble’s The Effect would have gone down at the Boulevard Theatre, especially directed by Anthony Neilson at this moment in time. Sadly, we won’t get to find out any time soon and though the current crisis isn’t good for any theatre, it feels particularly cruel on a new venue still finding its feet in the London theatre ecology.
I’d wager this production would have gone some way to establishing the Boulevard’s dramatic credentials. Prebble’s play was a huge hit at the National in 2012, and got even better in its regional premiere in Sheffield a few years later. And with a cast as talented as Eric Kofi Abrefa, Christine Entwisle, Tim McMullan and the ever-excellent Kate O’Flynn, I hope this doesn’t wind up a case of what might have been.
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Series 3 of The Crown sees new actors in across the board but Olivia Colman is sadly no Claire Foy. Helena Bonham Carter rocks though
“Sometimes duty requires one to put personal feelings…
Doing little to dispel rumours that she isn’t a Time Lord, The Crown takes its cues from Doctor Who as Series 3 sees the Queen regenerate from Claire Foy to Olivia Colman. And not just that, the whole cast of main players has been replaced as this new company will take us through the next couple of series. It’s a clever move, considering the spain of history that the show takes but it is also a little sad to lose such excellent performances as Vanessa Kirby’s Princess Margaret, Victoria Hamilton’s Queen Mum, Alex Jennings and Lia Williams as Edward and Wallis and of course, Foy’s exceptional work.
Series 3 then, takes us from 1964 to 1977, featuring such notable events as the Aberfan tragedy, the moon landing and the arrival of Camilla in Charles’ life. And with its many millions and pick of the white acting talent in this country, it remains eminently watchable. That said, something has shifted for me and it just doesn’t feel as effective as the first two seasons. A large element of this is the way series creator and main writer Peter Morgan has structured the show, choosing to maintain a massive ensemble of recurring characters but keeping the focus, and turnover, of episodes relentlessly tight. Continue reading “TV Review: The Crown Series 3”
Despite some considerable talent involved, I vote to leave Brexit: The Uncivil War
“It says here you basically ran the Leave campaign and yet I doubt most people have ever heard of you”
It is difficult to watch Brexit: The Uncivil War because it is hard to locate a raison d’être for telling this story as a drama rather than a documentary. Given how close it is to the present day and the way in which so much has still yet to unfold in the way the UK eventually disentangles from the EU, making the choice to start creating art around it feels an odd choice.
I’ve long been a fan of James Graham, like any rational person, and the way he has been able to dig deep and really explore so many of the issues afflicting contemporary society has been brilliantly in evidence. But it is hard not to feel that Brexit is a mis-step in the way that it seeks to reinterpret the roles of the key dramatis personae in this whole sorry shebang. Continue reading “TV Review: Brexit: The Uncivil War”
Antony and Cleopatra is a lengthy evening at the National Theatre but one which pays rich rewards, particularly in Sophie Okonedo’s majestic performance
“Give me my robe, put on my crown; I have Immortal longings in me”
Or Cleopatra and Antony as it turns out. Ralph Fiennes is plenty good in Simon Godwin’s modern-dress production of Antony and Cleopatra for the National Theatre, but Sophie Okonedo is sit-up, shut-up, stand-up amazing as she holds the ancient world and the entirety of the Olivier Theatre in her hand (and then wipes it clean with a look of disdain, as she wittily does after a messenger slobbers kisses all over it at one point). It is often acclaimed as one of Shakespeare’s greatest roles for women but an actor still has to do great things with it and here, Okonedo more than delivers.
In the opulent cerulean blue of Hildegard Bechtler’s design with its sunken pools and luxury, and in the magnificent array of statuesque costumes by Evie Gurney (such capes!!), her Cleopatra is a figure of immense poise. Even in her most capricious moments, there’s a knowing, performative quality to her that demonstrates just how much she’s controlling the narrative here, even when left alone by her Antony. And when together, there’s a palpable, mature connection between them – made all the more tragic by a prologue that presents a tableau of the final scene – their destinies entwining even as they’re increasingly doomed. Continue reading “Review: Antony and Cleopatra, National Theatre”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
Not even Judi Dench can save this irresponsible look at the British colonial legacy, Victoria and Abdul nevertheless takes two Oscar nominations into the ceremony.
“It is imperative that the royal colon receives a little roughage”
AKA The Other V&A. You can see the rationale behind Victoria and Abdul, allowing Dame Judi Dench to reprise her much-loved role from Mrs Brown with another 20 years under her belt. And directed by Stephen Frears from a screenplay by Lee Hall, hopes were reasonably high.
What results though, is a film that indulges in an irresponsible kind of historical revisionism, a refusal to engage with and interrogate the reality of British colonial rule. Hall’s version of Victoria is allowed to be coyly ignorant of the looting of Indian treasure, a champion of diversity too in an improbable twist. Continue reading “Oscar Week Film Review: Victoria and Abdul”