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 Island, Les Blancs, The Deep Blue Sea and Amadeus from the National Theatre. Continue reading “News: National Theatre at Home final phase”
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
“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”
There’s all sorts of big productions arriving in the months to come (Long Day’s Journey Into Night, the return of Amadeus, PATTI LUPONE!) but I’m using this spot to highlight some of the shows on the London fringe and around the UK (and Amsterdam…) that have piqued my interest and which I hope to get to review.
So in no particular order… Continue reading “20 shows to look forward to in 2018”
“The predictability of human desperation is incredible”
Set over a long night of the soul for the employees of a payday loans company, Kieran Lynn’s play The Trap is described as “a biting new comedy”. And for once, it does actually provide a fair few laughs, of the decidedly darkly comic sort, as it simultaneously shines an uncompromising light on the seedier end of capitalist society – the market for short-term loans and the predatory way in which the most-in-need are tempted in.
We open with Tom and Clem breaking into an office to steal money from a safe there, and it soon turns out that they are disgruntled employees trying to pull a fast one. But Lynn’s trick is to show how the perils of debt stretch far and wide and so they are eventually joined by branch manager Alan (gambling addict) and regional manager Meryl (mortgaged to the hilt) who are also searching for an quick route to assuage their financial woes. Continue reading “Review: The Trap, Omnibus”
“A little thing would make me tell them how much I lack of a man”
There’s nowt so queer as folk, at least not in Simon Godwin’s version of Illyria here. A gender-swapped Malvolia longs after her mistress Olivia, hipster-fop Sir Andrew Aguecheek is entirely smitten by a flirtatious Toby Belch, Antonio follows up his snog with Sebastian by inviting him to a rendez-vous at local drag bar The Elephant. And that’s before we’ve even dealt with the sexual confusion that Shakespeare himself engineered in Twelfth Night, as shipwreck survivor Viola disguises herself as her presumed drowned twin brother and wreaks havoc on the libidos of Olivia and Orsino alike.
It’s a mark of the success of Godwin’s production that it wears this all so lightly. It’s a modern-dress version for a modern sensibility (if not for the audience member who gasped audibly at the first gay kiss) and one that is rooted in a real sense of playfulness, as an expertly cast ensemble just have a huge amount of fun with it. Phoebe Fox’s delicious Olivia, who gives new life to the phrase ‘dance like nobody’s watching’; Oliver Chris’ Chelsea playboy of an Orsino, in the throes of a mid-life crisis having just turned 40; Tim McMullan’s swaggeringly confident Sir Toby ever accompanied by Niky Wardley’s spirited Maria and the comic masterpiece that is Daniel Rigby’s Sir Andrew. Continue reading “Review: Twelfth Night, National”
“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”
“Pardon me madam. I was always willing to be amused. The folly of most people is rather an object of mirth than uneasiness.”
Restoration comedies fit the Theatre Royal Bath with the snugness of centuries-old comfort but even with Lindsay Posner updating She Stoops To Conquer to the 1920s, it’s hard not to feel that there’s something inherently dusty about this austere venue. Audiences in London have been spoiled for choice with witty reinventions of the genre – Jessica Swale’s brilliant revisionist work on shows like The Rivals and The Busy Body have enlivened the Southwark Playhouse and the National has had raucous takes on The Beaux’ Stratagem (still running) and this very Oliver Goldsmith play effervescently directed by Jamie Lloyd.
But Posner ‘s direction has a near-fatal lugubriousness in the first half which, already weighed down with a considerable amount of scene-setting and expositionary dialogue, makes for very hard going. Sad to say, things are just dull for too long and nowhere near light-heartedly entertaining enough to do justice to this cracking comedy. The tropes of mismatched love affairs, disguised paramours, mistaken identities and wonderfully ambitious women are all present and correct – London gents Marlow and Hastings mistaking the Hardcastles’ country pile for a country inn and have to go a country mile around the houses to undo the damage they inflict and ensure love wins the day. Continue reading “Review: She Stoops To Conquer, Theatre Royal Bath”