The National Theatre has today announced further productions that will be streamed live on YouTube every Thursday at 7PM BST via the National Theatre’s YouTube channel as part of National Theatre at Home; the new initiative to bring content to the public in their homes during the Coronavirus outbreak. The titles announced today include productions from partner theatres which were previously broadcast to cinemas by National Theatre Live. Continue reading “News: National Theatre at Home Phase 3”
“It’s the Middle East Shlomo, enemies is what you make”
Only by chance did I find out that The Honourable Woman was leaving Netflix at the end of this month, so I quickly took the opportunity to catch up with Hugo Blick’s political spy thriller and as is so often the case with these things, was left wondering how I could have taken this long to watch it.
Political intrigue and personal drama coming from kidnapped children, suspicious suicides and betrayals ranging from old blood feuds to intra-familial conflict set the scene immediately for a typically dense and complex story from Blick, centred on a refreshingly new take on the Israeli-Palestinian conflict and the seeming impossibility of finding a solution when the wounds of the past are still felt so keenly and deeply. Continue reading “TV Review: The Honourable Woman”
“Edmund Reid did this”
As I might have predicted after the soaring heights of Series 3, the fourth season of Ripper Street didn’t quite live up to its forerunner. Then again, how could it after the epic sweep of the storytelling had so much of the finale about it in terms of where it left its key characters – Matthew Macfadyen’s Reid, Jerome Flynn’s Drake, Adam Rothenberg’s Jackson and MyAnna Buring’s Susan – picking up the pieces to carry on was always going to be difficult.
To recap, Reid had given up the police force after being reunited with his previously-thought-dead daughter Mathilda, and Susan’s momentous struggle against the patriarchal strictures of society (and also the nefarious entanglements of her actual father) saw her and Jackson end up behind bars, having also drawn Reid and the promoted Drake into the exacting of an individual kind of justice. Continue reading “TV Review: Ripper Street Series 4”
“I just want to know that it’s not that I don’t want you to get help, because I do, it’s just that there’s not any help out there”
There’s a moment towards the end of Rebecca Gilman’s 2014 play Luna Gale, directed by Michael Attenborough at the Hampstead, that is just breath-taking. Put-upon social worker Caroline finds herself pressured into praying in her office with a visiting pastor and her religious boss and as the minister lays his hand on her shoulder and offers a deeply seductive account of God’s love, Sharon Small’s deeply conflicted Caroline seems to teeter on the edge of something monumental in an extraordinarily charged moment of drama.
I’d describe it as a shocking moment but that reveals my own prejudices, a distrust of fundamentalist-tinged religion and a sense that such movements prey on easy targets, but in turn that reflects a larger point that Gilman makes in her play. Caroline is dealing with the case of 2 year old Luna Gale, born to teenage meth addicts and though rehousing the child with her grandmother seems the easy option, when she reveals she is deeply religious during a case meeting, Caroline’s instinctive reaction is to roll her eyes and offer a dry remark. Continue reading “Review: Luna Gale, Hampstead”
“If it were done, when ‘tis done, then ‘twere well it were done quickly”
There’s something a little ironic about NYT’s assurance that this is the “only West End showing of Macbeth this autumn” when I will have seen 3 productions of the Scottish play this month. Sure, the muddy paths of Clapham Common and the dusty hall of the London Welsh Centre might fall a little short of the shabby chic of the Ambassadors Theatre but it is a clear indication of the enduring popularity of this programming choice which forms one third of a rep season which also includes Private Peaceful and a modern telling of Dorian Gray in Selfie.
And sure enough, Ed Hughes’ concise adaptation offers up the best of the bunch for the season, the bold thematic vision working well and releasing the play from any dusty RP connotations. From the outset as Grace Chilton borrows the spirit of Alan Cumming’s iconic Emcee to the haunting presence of Lady Macbeth’s ghost during a key moment, Hughes’ liberating attitude (he also directs) makes this a rapid-fire success which pays its own tribute to the WWI anniversary as well as crackling with youthful energy. Continue reading “Review: Macbeth, National Youth Theatre of Great Britain at the Ambassadors Theatre”
“We have traditions, gentlemen’s agreements…things to help us to the best we can”
It’s always nice when karma works out in your favour. A clash in the schedule meant that I had to return my original ticket for This House and as the run was completely sold out, I was doubtful that I’d get to see the show. But as it turned out, standing tickets in the pit had just been released and so for the princely sum of £5, I was able to take in an early preview of James Graham’s new play for the National Theatre.
Set in the halls of Westminster across the incident-ridden 1974-1979 parliament, This House occupies that strange ground of fictionalised reality that so many playwrights seem to love. Graham has taken inspiration from the real events of the time – the hung parliament, economic crises, changes in leadership and a surprisingly high mortality rate among MPs – and created his own version of events. His focus lies with the whips on both sides and it is from their perspective that we see events occur, as they troubleshoot left, right and centre, struggle to control their wayward members and do deal after deal with their opposing counterparts, observing the age-old traditions and principles that serve in place of a constitution. Continue reading “Review: This House, National Theatre”
There’s apparently no predicting the way in which theatrical transfers work (apart from if we’re talking about Chichester musicals…). I can’t imagine the logistics involved in securing the necessary financial support, keeping the cast onboard and finding the ideal venue but perhaps more significantly, I’ve no concept of how the conversations begin. In some cases it seems a no-brainer, as in the aforementioned big-hitting Chichester musicals and indeed plays; in others, it seems easily misjudged, cf Written on the Heart; and then there’s the others, in which a perfect confluence of factors enable a well-received production to make the relocation.
It is probably the latter of these options in the case of Democracy, one of the three Michael Frayn plays that made up Sheffield Theatre’s celebration of his work earlier this year (Copenhagen and Benefactors were the others), which has now transferred to the Old Vic. On the face of it, it may not be the most appealing of prospects, a play based on real-life events in West German politics in the 1970s but what emerges is a sweeping spy thriller full of political intrigue and historical significance, which is all the more compelling for being true. Continue reading “Review: Democracy, Old Vic”
“They say fuck in direct proportion to how bored they are”
Continuing the rather scattershot programming that is going on at the Arcola since its move closer to Dalston Junction, a David Mamet double bill of two rarely performed short plays, Lakeboat and Prairie Du Chien, from early in his career is playing in the smaller Studio 2, whilst Studio 1 is dark until Uncle Vanya arrives from Coventry.
Lakeboat is set on an ageing cargo ship somewhere out of Chicago on the Great Lakes as English Lit student Dale joins the grizzled, heavy-swearing crew for the summer to replace the missing night chef, tales of whose disappearance are whirling around the ship. On the face of it, there’s perhaps not much to the play, but as a series of male character studies and the different ways in which men talk to each other, with all their braggadocio, masculine swagger, tales of sexual conquest and exertions of power where possible, it is highly illuminating. There’s some moments of great humour, usually concerning the most mundane of subjects, egg sandwiches or Clint Eastwood for example, but there’s also hints of darker places, sexual violence and intense loneliness. Steven Webb as Dale serves as the straight man for all the other characters with a brilliantly light wry touch and though everyone did well in the ensemble, Nigel Cooke’s plaintive Joe and particularly Rory Keenan’s handsomely beardy and fantastically filthy Fred were standouts. Continue reading “Review: Lakeboat and Prairie Du Chien, Arcola”