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
Nominees have been announced for the 2017 Ian Charleson Awards:
Ellie Bamber for Hilde in The Lady from the Sea, Donmar Warehouse
Daniel Ezra for Sebastian in Twelfth Night, National Theatre
Tamara Lawrance for Viola in Twelfth Night, National Theatre
Rebecca Lee for Friar Laurence in Romeo and Juliet, Watermill, Newbury
James Corrigan for Mark Antony in Julius Caesar, Shakespeare Royal Shakespeare Company
Ned Derrington for Lysander in A Midsummer Night’s Dream, Shakespeare’s Globe
Sope Dirisu for Coriolanus in Coriolanus, Royal Shakespeare Company
Arthur Hughes for Lucius in Julius Caesar, Crucible, Sheffield
Douggie McMeekin for Snug in A Midsummer Night’s Dream, Young Vic
Natalie Simpson for Duchess Rosaura in The Cardinal, Southwark Playhouse
Hannah Morrish for Lavinia in Titus Andronicus, Royal Shakespeare Company
The focus of the award is on roles in classical theatre – yours Ibsens, your Chehkovs, your overwhelming number of Shakespeares – but you do wonder whether there’s something about the kudos automatically granted here. Though there is diversity in the names selected here, the very notion of ‘classical’ as determined by the theatrical establishment seems to work against its actual ecology, at least as it relates to modern Britain.
I mean to not at all dishonour the legacy of Ian Charleson, but I do wonder whether the awards that bear his name recognise the bias that its limitations impose. If the Quentin Letts farrago shows us anything, it shows us how entrenched some of these attitudes are. But it also serves as a reminder that actors of colour (and women to some of the same extent) are ill-served by the ‘canon’.
I’m all for celebrating and highlighting the work of great young actors but I want all of them to be included. And yes, that makes the scope considerably wider but surely its time to acknowledge that there’re amazing actors who have never performed Shakespeare, and might never do Chekhov, but who are more than worthy of the kind of recognition offered here.
“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”
Somewhat appropriately in the week following International Men’s Day with its theme this year of male suicide, two shows tackling the subject open in London. Ella Hickson’s Boys gets a short revival at the LOST Theatre (read my review of the 2012 Soho Theatre production) and new musical Catch Me, written by Arnoud Breitbarth and Christian Czornyj, slots into the Above the Arts Theatre – I’ll be ‘catching’ it later in the week so watch this space for a review.
Continue reading “Round-up of news and treats and other interesting things”
“Calm, methodical, Sunday fucking best”
There’s no two ways about it, Paul Abbott’s latest TV series has been an absolute triumph. Channel 4’s No Offence has kept me properly gripped over the last eight weeks and I’m delighted that a second series has already been commissioned as its enthralling mixture of comedy drama and police procedural has been irresistible from its opening five minutes with all its squashed-head shenanigans through to its thrilling finale which kept us on tenterhooks right til its final minutes.
Whence such success? A perfect storm of inspired casting and pin-sharp writing from Abbott and his team. Joanna Scanlan’s DI Viv Deering reinvigorates the stereotypical police boss to create a career-best character for Scanlan, her fierce loyalty played straight but her dry one-liners making the most of her comic genius. Elaine Cassidy’s DC Dinah Kowalska, the eager young copper on whom the focus settles most often, Alexandra Roach’s earnest but quick-learning DS Joy Freer completing the leads. Continue reading “TV Review: No Offence, Channel 4”
“Were thou as young as I”
In Joseph Drake and Audrey Brisson, Sally Cookson’s Romeo + Juliet has a perfectly matched pair of pint-sized lovers to take to the stage at the Rose Kingston. And in creating a non-specifically modern Verona (as hinted by the format of the title which borrows from Luhrmann), Cookson creates the ideal setting in which to let her vivid imagination run riot over Shakespeare’s much-performed classic. Her bold vision may not be to everyone’s tastes but it delivers a unique pleasure.
Katie Sykes’ multi-platformed urban playground of a set suggests an underbelly of a city akin to the undercroft of the Southbank Centre, recently saved for its skateboarders and under the tumble of fluorescent tubes that makes up Aideen Malone’s lighting design, there’s a highly charged sense of energy ready to explode. Benji Bower’s score carries much of the weight of the atmosphere though, an insistent presence throughout the production for better and for worse. Continue reading “Review: Romeo + Juliet, Rose Kingston”