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).
“Why did you make me?”
Perhaps one of the less-successful decisions I have made this year was to revisit Frankenstein at the National Theatre. There was a number of reasons: the opportunity to see Jonny Lee Miller take on the role of the Creature and directly compare and contrast him with Benedict Cumberbatch; it was the final performance of the run; it was actually the third time I had a pair of tickets to see the windy Miller – I’d passed on the other tickets to more receptive friends but given one last chance, I ended up biting the bullet in the spirit of perhaps finding something new in the production.
For I did see it much earlier in the run, you can read the review here, and I found it a most problematic play. And my opinion of it still holds firm after a second viewing, I find it simply astounding how forgiving the official reviews were of this show. For sure, the production values are at times sensational and a welcome shot in the arm for National Theatre stagings which will hopefully inspire more creativity in future productions. But the play itself is so terribly weak that to close one’s eyes to its many problems feels like an absolute crime and try as I might, I could not ignore them and try to focus on having a ‘good time’ as my companion attempted to admonish me. Continue reading “Re-review: Frankenstein, National Theatre”
“Please do not be inconsistent, I find it infuriating”
Perhaps the first big theatre ‘event’ of the year is the National Theatre’s Frankenstein which has taken the step of cross-casting its two main parts, so on different nights one can see Benedict Cumberbatch and Jonny Lee Miller playing the roles of Victor Frankenstein and the Creature. The play is a new work by Nick Dear although based on Mary Shelley’s famous novel and features the National Theatre directorial debut of Danny Boyle, Oscar-winning director of films like Slumdog Millionaire and 127 Hours. The programme of who is playing whom has now been published, although the run is currently sold out, but the previews remained unallocated so it was a lucky dip as to who we would get when we went to see it: just to clarify, this is a review of a preview performance from Tuesday 8th February which I have kept in mind whilst blogging about this show.
There’s a highly atmospheric entrance into the Olivier, with a bell tolling and a strange looking pod revolving slowly around the stage. As the lights darkened to a womb-like red, a figure began to emerge from this pod and eventually a completely naked Benedict Cumberbatch broke free to be birthed into this cruel chamber. It is hard to see how this opening 15 or so minutes will be bettered this year, as a physical performance it is truly outstanding as he slowly becomes accustomed to the world through squinting eyes, stuttering sounds and a stumbling gait, controlled through a stunning light feature that hangs above the stage, protruding into the audience that flashes blindingly, radiating an intense heat too, as a highly effective warning device. It is a remarkably open sequence too, not just because he is in the nude, but because he is so free in his movements and the way in which he shows the fast-burgeoning intelligence of the Creature, in his reaction to his first dawn or the rain for instance: he really sets the marker for the rest of the play in creating this empathetic character who one can’t help but root for (the odd murder excepted of course). Continue reading “Review: Frankenstein, National Theatre”