News: National Theatre at Home final phase

The National Theatre has announced a further five productions that will be streamed as a part of the National Theatre at Home series. Established in April to bring culture and entertainment to audiences around the world during this unprecedented period, National Theatre at Home has so far seen 10 productions streamed via the NT’s YouTube channel, with over 12 million views to date. These will be the final titles to be shared for free via YouTube in this period. However, future digital activity to connect with audiences in the UK and beyond is planned, with further details to be announced soon. 

The productions will be broadcast each Thursday at 7pm BST for free and will then be available on demand for seven days. Titles added to the programme today include A Midsummer Night’s Dream from the Bridge Theatre, alongside Small IslandLes Blancs, The Deep Blue Sea and Amadeus from the National Theatre.  Continue reading “News: National Theatre at Home final phase”

Re-review: Amadeus, National

“We were both ordinary men, he and I.”

Though Rufus Norris’ tenure hasn’t managed to nail a new writing hit in the Olivier, it has had considerable success in finding revivals to fill this voluminous space. Follies was a standout from last year, particularly in how Vicki Mortimer’s design swelled to magnificent heights and late in 2016, it was a glorious production of Peter Shaffer’s Amadeus that rose to the occasion. So it is no real surprise to see that show return to the schedule, indeed the surprise was that it might even have gotten better.

That this is Michael Longhurst’s debut in this theatre makes it all the more impressive and I wouldn’t be surprised if his name doesn’t soon become one of the ones bandied around the round of musical chairs that is London artistic directorships. And his decisions here remain as pinpoint accurate in nailing the psychological torment at the heart of this drama, from the toxicity of Salieri’s jealousy, Mozart’s own struggles in dealing with his genius, and how society also has its difficulties in its treatment of those it elevates. Continue reading “Re-review: Amadeus, National”

Review: Amadeus, National Theatre

“It would make angels mourn”

Perhaps fittingly, on an evening when beautiful tribute was paid to the late Howard Davies, whose invaluable contribution to the National Theatre (36 productions over 28 years) will sorely be missed, there’s a sense of the passing of the guard with director Michael Longhurst making his main stage debut in the South Bank venue. Longhurst has been establishing himself quite the reputation (Constellations and Linda at the Royal Court, Carmen Disruption at the Almeida, A Number at the Nuffield, an extraordinary Winter’s Tale earlier this year, and the brilliant The Blackest Black at the Hampstead, to name just a few) and his graduation here feels entirely earned.

He makes his bow with Peter Shaffer’s Amadeus, a play that premiered at this very theatre in 1979 (another sad loss, as Shaffer passed away this summer) and with the enviable resources to hand here, mounts an excellent production. The play depicts a largely fictionalised version of the intertwined lives of composers Wolfgang Amadeus Mozart and Antonio Salieri and their rival careers, and the Southbank Sinfonia are on hand to provide live orchestral accompaniment. So that when The Marriage of Figaro is premiered, we get an excerpt; when people read the sheet music, we don’t have to imagine the notes of the page, we hear them out loud. Continue reading “Review: Amadeus, National Theatre”

Radio Review: Just Dance / Sargasso

”They called a horse after a dancer?”

Just a quickie for these two Afternoon Dramas as it has turned into one of those weeks… I tweeted about Just Dance as its main star – John Heffernan – has quite the following amongst my followers and beyond and the prospect of hearing his voice when his next stage appearance is as yet unconfirmed was not one to pass up lightly.

In Frances Byrnes’ Just Dance, he played Luke, the best dancer of his generation but one now crippled with doubt, psychologically unable to dance. Through a chance meeting with Afro-Caribbean Guy, he explores the driving forces behind both his talent and his torment, his luxuriously deep tones bringing the perfect amount of dancer’s elegance to the part. Continue reading “Radio Review: Just Dance / Sargasso”

Review: Orpheus Descending, Royal Exchange

“I’m not interested in your perfect functions”

It is often the case with lesser performed works by well-known playwrights that there’s a reason why they don’t occupy the same place in the canon, and so it was with this production of Tennessee Williams’ 1957 play Orpheus Descending which I managed to squeeze into the end of a hectic work trip to Manchester. It is unmistakeably his work: elements like the oppressive heat of the Deep South, repressed passion and a mismatched couple are present and correct. But there’s also a lugubrious pace and a patchwork quilt of superfluous supporting characters which helps to explain its relative obscurity.

Lady Torrance is an unhappily married Mississippi store-owner whose head is well and truly turned with the arrival of handsome young drifter Val. He’s escaping his past but finds himself in the most stifling kind of narrow-minded community as they react against him. At the same time though, he offers the potential of a way out for Lady who dares to dream of a more liberated future, but the constraints of her present circumstances and the ever-powerful echoes of the horrific past mean nothing is easy. Continue reading “Review: Orpheus Descending, Royal Exchange”

Review: The Crucible, Open Air Theatre

“I will come to you in the black of some terrible night and I will bring a pointy reckoning that will shudder you”

It really is a good time to be an Arthur Miller fan in London: All My Sons is receiving rave reviews at the Apollo Theatre and now you can see The Crucible at the Regent’s Park Open Air Theatre in a chilling new production of a play.

The Puritans of Salem, Massachusetts are shocked when a group of their young girls are caught dancing in the woods and one of them falls into a coma. Accusations of witchcraft soon start to fly and as the hysteria mounts and a full-blown witch-hunt ensues, vendettas about land and money, and also of the heart, are pursued sub rosa as events snowball to a shockingly brutal conclusion. The struggle between truth and righteousness, between protecting self-interest and rising to the need of the greater good, is personified in the Proctor family, John and Elizabeth. Continue reading “Review: The Crucible, Open Air Theatre”