News: NT launches new streaming service National Theatre 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,  Othellowith Adrian Lester and the Young Vic’s Yermawith 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”

Review: Heartbreak Hotel, The Jetty

“Please do not disturb”

I’ve been to a couple of plays in hotels already this year but I haven’t gotten to go through the wardrobe in any of them until Heartbreak Hotel, the latest attempt to develop an immersive theatricality in Greenwich which has ranged from the sublime Hotel Medea to the shocking Venice Preserv’d. Par for the course, The Jetty comes equipped with all the accoutrements to make it a destination venue – rooftop bar, pulled pork stands, riverside views and pumping music, but tasty as the barbeque is (I recommend the squid) it’s the theatre we’re concerned with. 

Zoe Wellman and Sam Curtis-Lindsay’s production follows the conceit of multiple stories happening in multiple hotel rooms at the same time, all connected loosely by a similar theme. The audience gets split into groups and traces a path through the hotel which takes us from sado-masochistic relationships, fanboys, self-help sessions… Over the course of an hour, we take on all different kinds of heartbreak as we traverse the corridors and secret passages of this once-grand British seaside establishment with an increasing sense of weirdness taking over the over-arching narrative.  Continue reading “Review: Heartbreak Hotel, The Jetty”

Review: Shooting With Light, New Diorama

“You don’t have to worry about taking the perfect picture”

There’s much to enjoy about Idle Motion’s Shooting with Light, currently selling out night after night at the New Diorama ahead of a UK tour, not least in their exploration of the life and work of photojournalist Gerda Taro. A devised work, it blends its text with striking use of movement, multimedia projections and innovative design, to create an impassioned, time-jumping romance slash mystery that has some truly beguiling moments.

Fleeing the rising anti-Semitism of the 1930s, German Gerta Pohorylle and Hungarian Andre Friedmann met in a Parisian café and quickly bonding over a mutual love for each other and photography, reinvented themselves as the First Couple of photojournalism – Gerda Taro and Robert Capa. Initially just acting his agent, Taro’s own love for the lens saw her develop her own path, becoming the first female photojournalist to cover a war from the front line. And to die whilst doing so. Continue reading “Review: Shooting With Light, New Diorama”

Review: Reptember – Triple Bill B, New Diorama

“I can highly recommend the apricots”

And so to complete the set of triple bills at the New Diorama, Programme B of The Faction’s Reptember saw my third trip in quick succession to this most friendly of theatres, tucked away near Warren Street station and possessing some of the loveliest people working there. My mood was further enhanced by this proving to be my favourite of the three shows, demonstrating the greatest variety of style and mood in the solo performances that have made up this rep season. Programme A was also strong and if Programme C wasn’t quite my cup of tea, any issues I felt it had were more than compensated for here.

First up is Lachlan McCall in The Man With The Flower In His Mouth written by Pirandello and adapted and directed here by Faction AD Mark Leipacher. McCall is the perfect choice from the ensemble for this ruminative piece, his ruffled everyman demeanour suits the gentle rhythm of this late night interaction between his character and a man who’s missed the last train. The role of the other guy is taken by a video camera into which McCall speaks, the image being projected onto the back wall thereby co-opting us all into the reveal of the depths of his melancholy soul. It’s subtle but becomes most moving. Continue reading “Review: Reptember – Triple Bill B, New Diorama”

Review: The Robbers, New Diorama

“He’s the apple of your eye but if that apple do offend, then pluck it out” 

The final piece of The Faction’s 2014 Rep Season 2014 is a revival of their 2011 successful take on Schiller’s The Robbers, which slots in along Hamlet and Thebes in playing through February at the New Diorama. As Schiller’s first play, it has something of a rawness about it in the way that brings together a surprisingly mature (for the 1780s) debate about state versus revolution, intervention versus anarchy, with the kind of histrionic family drama that at times recalls Shakespeare at his most bafflingly obtuse.

The play bounces between antagonistic siblings, Franz and Karl von Moor. The devilish Franz has hoodwinked their father into disinheriting the older Franz and so is allowed to grasp for power and money in court, whereas Karl flees to the forest where he becomes the head of a vicious band of robbers who are determined to start the revolution. Interestingly, the two never meet but their actions impact strongly on those around them as class, religion and society are indicted in melodramatic style. Continue reading “Review: The Robbers, New Diorama”

Review: Thebes, New Diorama

Let this blood here be the wash of Thebes’ redemption”

The ancient Greek stories of Thebes have proved some of the most enduring, inspiring theatremakers across the years to relate the tales of power-crazed, war-torn tragedy in their own ways and to their own experiences. Here, Gareth Jandrell ramps up the epic quotient by splicing together works by Aeschylus and Sophocles to create his own new play Thebes which spans the entire misbegotten dynasty, and forms the second play in The Faction’s 2014 rep season at the New Diorama.

So we see Oedipus’ crazed descent as the terrible truths uttered by the Oracle unknowingly shape his destiny as a most tragic king and we then move swiftly into the aftermath of his death, the power vacuum that emerges that his two sons and Creon battle to fill. Which in turn unleashes its own trail of chaos in the form of Oedipus’ vengeful daughter Antigone who will stop at nothing to do what she feels is right. All the while, the city of Thebes pulses in the background – bearing witness, making comment, passing judgement. Continue reading “Review: Thebes, New Diorama”

Review: Hamlet, New Diorama

“What a piece of work is a man”

The Faction’s annual rep seasons at the New Diorama have gone from strength to strength, winning increasing critical and commercial acclaim, and so in the relatively dry spell of early January openings, they are a welcome highlight. Their 2014 season opens with a fresh take on Shakespeare’s perennial classic Hamlet, directed by Mark Leipacher in an adaptation that takes its time to find its feet and its oeuvre but once it does, it exemplifies much of the best of the Faction’s work, anchored by an excellent lead performance from Jonny McPherson.

Early on, the most arresting feature of this production is the ingenious use of a digital Simon Russell Beale to play the ghost. Leipacher comes up with a novel method of displaying Martin Dewar’s projection work, the ensemble making it somehow float in the air but for all its resourcefulness, it never feels truly integrated into the show, a distance is forced between reality and artifice which undermines the emotional current that ought to pull so strongly. And generally, the first half feels slow to start, competently played to be sure but not quite essential. Continue reading “Review: Hamlet, New Diorama”

Review: Othello, National Theatre

“Demand me nothing: what you know, you know”

Though I’ve been to the theatre a fair bit over the last few years and taken in more than my fair share of Shakespeare, the distribution across his plays has been far from equitable. I’ve seen more Macbeths, Twelfth Nights and Midsummer Night’s Dreams that I can shake a stick at, yet my first and only Othello to date was in Sheffield back in 2011. Not having previously read or studied it, it was never a play that had really appealed and though I really did enjoy that trip to the Crucible, I can’t say I was dying to see it again. But this high-profile National Theatre modern-day update, featuring Rory Kinnear and Adrian Lester under Nicholas Hytner’s direction, proved impossible to resist, not least with preview prices meaning the £48 seats were going for £20 (and with this running time, it was money well spent).
 
The Venice of the opening is a non-descript place and it is only with the departure to Cyprus, and specifically here a British base on the island, that the military aesthetic of the production comes to full fruition. Vicki Mortimer’s design captures the sun-blasted stone of the Mediterranean location and the claustrophobically stuffy air of the prefab offices and rooms of the military base, with the only real nod to the geopolitics of the modern-day setting a map of the Middle East behind a desk. The production wears the updating quite lightly: on the one hand, nothing feels too forced to fit in with the concept but on the other, it doesn’t always seem like the most inspired. The bland nature of so much of the setting – the generic office, the shared bathroom, the depersonalised bedroom – mutes something of the tragedy, there’s little grandeur on display to match the heights of the emotion.

Continue reading “Review: Othello, National Theatre”

2013 Offie Award Winners

Offies Awards - Off West End Theatre Awards

BEST MALE PERFORMANCE
Jasper Britton in Mother Adam at Jermyn Street 
Louis Maskell in The Fix at Union Theatre
Thomas Coombes in Barbarians at Tooting Arts Club
William Houston in Uncle Vanya at The Print Room

BEST FEMALE PERFORMANCE 
Aysha Kala in Khadija is 18 at Finborough Theatre
Eileen Atkins in All That Fall at Jermyn Street
Lucy Ellinson in Oh, The Humanity at Soho Theatre
Matti Houghton in Brimstone and Treacle at Arcola Theatre

BEST NEW PLAY
Lot and his God by Howard Barker at The Print Room 
Lungs by Duncan Macmillan by Paines Plough (Shoreditch Town Hall) 
Shivered by Philip Ridley at Southwark Playhouse Continue reading “2013 Offie Award Winners”

2013 Offie Award Finalists

Offies Awards - Off West End Theatre Awards

BEST MALE PERFORMANCE
Jasper Britton in Mother Adam at Jermyn Street 
Louis Maskell in The Fix at Union Theatre
Thomas Coombes in Barbarians at Tooting Arts Club
William Houston in Uncle Vanya at The Print Room

BEST FEMALE PERFORMANCE 
Aysha Kala in Khadija is 18 at Finborough Theatre
Eileen Atkins in All That Fall at Jermyn Street
Lucy Ellinson in Oh, The Humanity at Soho Theatre
Matti Houghton in Brimstone and Treacle at Arcola Theatre

BEST NEW PLAY
Lot and his God by Howard Barker at The Print Room 
Lungs by Duncan Macmillan by Paines Plough (Shoreditch Town Hall) 
Shivered by Philip Ridley at Southwark Playhouse Continue reading “2013 Offie Award Finalists”