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”
Given the current discourse around Churchill and the aspects of British history that are commonly taught, watching A United Kingdom couldn’t be more timely
“Would you care for a sherry?”
It’s no secret that the realities of British colonial history are too often and too easily brushed under the carpet. And so it’s no surprise that it is directors of colour who are dragging them into the spotlight, as Amma Asante does with A United Kingdom. You can’t imagine a history lesson that wouldn’t benefit from screening this for its students.
Written by Guy Hibbert from Susan Williams’ Colour Bar, it is based on the true-life story of a law student named Seretse and a underwriters’ clerk named Ruth who met at a dance and fell in love, the film intelligently explores and exposes post-war British imperialist attitudes as well as giving us an epic love story. Continue reading “Film Review: A United Kingdom (2016)”
My White Best Friend (and even more letters left unsaid) sees the Bunker Theatre start the process of going out in a blaze of glory
“It’s all we can do to listen”
There’s a couple of months before the Bunker Theatre closes its doors but it does seem a rather wonderful f*** you to bring back their inordinately successful mini-festival and sell out every night before the run even started. Developers may gain from taking over this space but as evidenced here in this kind of forward-thinking, thought-provoking production, London’s theatre ecology stands to lose a lot.
Co-curated by Rachel De-Lahay and Milli Bhatia (who also directs), My White Best Friend (and even more letters left unsaid) is a raucous piece of gig theatre, centred on a provocation to a range of cracking writers to write letters “that say the unsaid to the people that matter most”. Those letters are then read to a standing audience, sight unseen by different actors every night. And there’s a DJ-led afterparty too, even on a Monday night! Continue reading “Review: My White Best Friend, Bunker Theatre”
With Sheila Atim playing both Viola and Sebastian, this film of Twelfth Night has many a highlight even if it is ultimately overlong
“You will hang like an icicle on a Dutchman’s beard”
As a debut for both Shanty Productions and Adam Smethurst as screenwriter and director, this Twelfth Night is an intriguing thing. At a more than healthy 2 hours 45 minutes, its slavish adherence to the text can feel like a bit of a challenge as it occasionally feels like it is moving at a glacial pace. On the other hand, it has Sheila Atim doing double duty as shipwrecked twins Viola and Sebastian and so it proves a great showcase for her.
Filmed over a single month in West Sussex on an economical budget, this contemporary imagining of Shakespeare’s tale of mistaken identities and affections gone haywire benefits from some astute casting. Shalini Peiris’s Olivia is younger than the average but it’s a choice that makes sense of her impetuous nature, and leaning into Antony Bunsee’s experience makes for a compelling Malvolio, the unlikeliness of any relationship between them all the more stark for once. Continue reading “Film Review: Twelfth Night (2018)”
“Now is not the time for your Bronte Sisters-saurus act”
In what’s been a blistering start to the televisual year (Unforgotten, The Moorside), the second series of Paul Abbott’s No Offence is definitely up there, offering at least a little comic relief along with its deadly serious dark side. My views on episode 1 set the tone for the rest to come – the glorious return of the Friday Street team, led by Joanna Scanlan’s inimitable DI Viv Deering, having met their match in the arch-villain Nora Attah, a glorious performance from Rakie Ayola.
And typical of Abbott’s oeuvre, along with his co-writers, there’s a fantastic complexity to his characters. Attah may rule her gangland with a rod of iron, issuing icy reprisals against rivals who dare cross her path, but as subplots about FGM and sexual violence are threaded through the season, there’s strong hints about the harshness of the world that has shaped her. And that makes her the ideal counterpart for Deering’s anarchic policing style, our sympathies caught in the complex conflict between their respective shades of grey. Continue reading “TV Review: No Offence Series 2”
“A police presence is non-negotiable”
Paul Abbott’s No Offence returns for a most welcome second season after a quality Series 1 in mid-2015 added to the purple patch for police procedurals that we seem to be in. Abbott’s spin places us with the Manchester Metropolitan Police and in a world that is equally darkly comic and dramatic as the squad deal with the ramifications of the climax of that first series, as well as keeping an eye on the combustible gangland situation that looks set to involve our guys here.
And what guys – Joanna Scanlan’s almost impossibly charismatic DI Viv Deering as comically sharp as she is whip-smart, Elaine Cassidy’s pragmatic DC Dinah Kowalska and Alexandra Roach’s serious-minded DS Joy Freer underneath her, with Sarah Solemani’s ice-cold DCI Christine Lickberg joining them, providing scarcely wanted oversight and some juicy looking tension. The casual female focus (of the series at large) and refreshing body positivity (of this episode in particular) are just marvellous to behold. Continue reading “TV Review: No Offence Series 2 Episode 1”
“Well, that was a bit odd”
Sometimes, one knows from the first moments of a show that it just isn’t going to be your cup of tea. And so it was with the opening montage of Melly Still’s new production of From Morning to Midnight, a landmark of German expressionism apparently but for me, a hugely ambitious piece of stagecraft that indulges far too much overt theatricality at the expense of dramatic integrity. It is worth noting ‘twas a preview that I saw and one in which understudy Jack Tarlton had to step in for the injured Adam Godley in the lead role.
Georg Kaiser’s 1912 play uses an episodic form to tell the story of an everyday clerk who is jolted from the mundaneness of his existence when a sultry Italian wanders into his bank, inspiring him to seize the day and make a change to his dull family life. That he does by stealing 60,000 marks from the bank with the intention of eloping with this woman but when she rejects him, the clerk delves into a journey of the soul – both actual and metaphysical – that lasts for a day but feels like a lifetime. Continue reading “Review: From Morning to Midnight, 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”