News: National Theatre at Home Phase 3

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”

Review: Rope, Queen’s Theatre Hornchurch

“I have committed passionless – motiveless – faultless – and clueless murder”

Patrick Hamilton’s 1929 play Rope has a special place in my heart for it was the 2010 Almeida production that properly introduced me to the marvel that is Bertie Carvel and Roger Michell taking that theatre into the round – when such things were still a novelty to me – was a properly memorable experience. So the Queen’s Theatre Hornchurch had a job to do and Douglas Rintoul’s expertly-tooled revival has much to commend it.

The story centres on the nefarious antics of two idly rich Oxford undergrads who murder a fellow student just for the hell of it, in pursuit of some Nietzschean ideal. And not just that, they host a dinner party hours after they committed the deed and stuff the corpse into a chest which they then use as a dinner table, even going so far as to invite the victim’s mother. Darkly comic throughout, the play soon winds up into something of a proper thriller as the pair walk a very dangerous line. Continue reading “Review: Rope, Queen’s Theatre Hornchurch”

Review: The Silver Tassie, National Theatre

“There’s no more to be said
For when we are dead
We may understand it all”

Commemorating the start of the First World War has turned into something of a full-time business for the nation’s theatres but in reviving the rarely-seen 1927 Sean O’Casey anti-war piece The Silver Tassie, the National Theatre has hit on something special. The play is structurally extraordinary in the difference of its four acts – a vaudevillian take on an Irish household transforms memorably into the visceral horror of a battlefield haunted by music hall songs, after the interval a hospital-set comedy eventually turns into stark realism, as the shattering effects of war on society are laid bare. Howard Davies’ epic production forges through blood and noise to find a most painful truth.

The cumulative effect may challenge some and is certainly disorientating at times but it also has a form of progression that feels natural, like feeling a way through what we now call post-traumatic stress disorder. Opening in the Dublin tenement home of the Heegans, the play riffs on Irish stereotypes through the clownish figures of Sylvester and Simon and the neighbourhood archetypes they teasingly mock but soon allows young gun Harry Heegan to take centre stage, boasting the trophy – the Silver Tassie – he and his teammates have won playing soccer, just before they head off to join the British war effort.  Continue reading “Review: The Silver Tassie, National Theatre”

Review: Henry V, Noël Coward

“What art thou, thou idle ceremony?”

Early days for the final instalment in Michael Grandage’s season at the Noël Coward and another return to Shakespeare. But the Jude Law-starring Henry V did little to entertain, not helped by an abortive start which meant the opening scenes had to be replayed, with a production that is full of Acting with a capital A but little sense of theatrical vibrancy. Truth be told, I think I’m done with the play for a while – last year saw a slew of adaptations, some more successful than others, and so it doesn’t feel like a necessary addition to our stages (though I appreciate not everyone will be in quite the same position.)

 
Part of the problem is soon apparent with the sneaking suspicion that we’ve been here before. Longtime collaborator Christopher Oram’s distressed wood set recalls the Donmar’s Lear, the throne as icon imagery their Richard II. Ashley Zhangazha’s Chorus arrives onstage in modern dress (with what looks suspiciously like a Viva Forever t-shirt) but this is a red herring as the play is performed in classic dress, although Law’s soldier King is frequently attired in some distractingly tight-fitting trouser-wear.  Continue reading “Review: Henry V, Noël Coward”

Review: This House, National 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”