Edgar Allan Poe via Anthony Neilson might not seem the typical recipe for your festive fare but The Tell-Tale Heart proves a gory and gothic delight
“I will do anything to make you happy”
Edgar Allan Poe via Anthony Neilson might not seem the typical recipe for your festive fare but The Tell-Tale Heart proves a gory and gothic delight. Marking Neilson’s National Theatre debut, it is a typically free-wheeling affair, a playfully post-modern take on Poe.
The Writer wins a major playwriting award but declines it publicly and to escape the outrage caused, decamps to Brighton to write her second play. She’s looked after there by a delightfully offbeat Landlady who, while she keeps half her face hidden with a mask, opens up her heart and home. Continue reading “Review: The Tell-Tale Heart, National Theatre”
Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard Series 1”
So much goodness announced here in the National Theatre’s near future – particularly excited for Nine Night’s transfer, what looks like a leading role for Siân Brooke and the prospect of Joanna Riding’s ‘Losing My Mind’.
National Theatre Season: July 2018 – January 2019
Nine Night, Natasha Gordon’s critically acclaimed debut play transfers to the West End following a sold-out run at the NT
Further cast announced for Antony and Cleopatra alongside Ralph Fiennes and Sophie Okonedo, playing from September
Cast confirmed for world premiere of David Hare’s new play I’m Not Running, including Siân Brooke, Alex Hassell and Joshua McGuire
Peter Brook returns to direct at the National Theatre for the first time in 50 years with The Prisoner, co-directed with Marie-Hélène Estienne
Following the acclaimed Consent, Nina Raine returns to the NT with her new play Stories starring Claudie Blakley
Anthony Neilson makes his NT debut with new play The Tell-Tale Heart, based on the short story by Edgar Allan Poe
Alexander Hanson and Joanna Riding to join the cast of Follies alongside Janie Dee and Peter Forbes, returning to the Olivier Theatre in February 2019
War Horse returns to the NT marking the centenary of Armistice Day
Antony and Cleopatra and I’m Not Running to broadcast to 65 countries worldwide as part of NT Live
To mark the 100th anniversary of the first women in the UK gaining the right to vote, the NT stages Courage Everywhere; a series of rehearsed readings, talks and screenings Continue reading “News: National Theatre Season: July 2018 – January 2019”
“Everyone’s here from the UK but it’s always the Cotswolds or Scotland or something so nice to have an actual…we’re moving back there you see”
What is it that draws writers to adaptation? Anya Reiss’ extraordinary debut of two cracking plays for the Royal Court has been followed by versions of 2 Chekhovs and Wedekind’s Spring Awakening for Headlong which is currently touring. The first Chekhov saw The Seagull transplanted to a modern day Isle of Man for the Southwark Playhouse and now for the same theatre, she has tackled Three Sisters which is located “near a British Embassy, overseas, now”.
Which is all very well but in a play that is predicated on the desire to return home, there appears to be no earthly reason why any of the Prozorova sisters – the modern women that they are here – can’t just book the next flight to the London they left just over a decade ago. Instead they languish in the non-specific country suggested to be somewhere we might have recently invaded, where their father served as a diplomat until his death, stuck because he sold their old family home. Continue reading “Review: Three Sisters, Southwark Playhouse”
“Fios agad am facal”
The Outer Hebrides have an austere challenging beauty about them and so too does Iain Finlay Macleod’s play Somersaults, relishing in an inscrutable quality which equally entertains and frustrates. After premiering in Edinburgh last year, director Russell Bolam has brought it to the intimate surroundings of the Finborough where its mix of English and Gaelic makes a fascinating exploration into where language and cultural heritage intersect in our lives.
Born on the Isle of Lewis (as was Macleod), David Carlyle’s James has since gotten it all. A lucrative dotcom business, a swanky pad in Hampstead, he even managed to marry the prettiest girl at university, but this has all come at a price – he’s become disconnected from his birthplace and increasingly so, from the language he spoke as a child, Scots Gaelic. And when his carefully constructed new life crashes down around him, it seems the ideal time to re-establish those links with home and the heart. Continue reading “Review: Somersaults, Finborough”