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
“And throughout all Eternity I forgive you, you forgive me”
For me, there’s a serious problem that lies at the heart of The Heart of Me and that is that the man at the apex of the love triangle that tears two sisters apart just isn’t worth it. Paul Bettany’s Rickie marries Olivia Williams’ Madeleine in the whirl of 1930s London but her repressed nature contrasts strongly with her much more bohemian sister Dinah, Helena Bonham-Carter in fine, liberated form, and an affair strikes up between the pair, the effects of which ricochet hard through all their lives. It’s very much a slow-burner and in the grand tradition of Merchant Ivory, it evokes so much of the early twentieth century British character that has proven endurably entertaining to watch on screen and stage.
It is a brave choice to make Rickie a complexly dark character, the way his frustrations spill out as he abuses marital privileges and his moral weakness in the face of tough decisions make him a rotter par excellence which Bettany pulls off well. Yet the spark of something there, to draw Dinah into betraying her sibling so, has to be pulsatingly powerful so as to ride roughshod over convention and I never really bought that, instead one is left with the pure selfishness of their action, as opposed to the purity of their love, and thus I had difficulties with much of this story thread. Continue reading “DVD Review: The Heart of Me”
“Thanks for all the pies and adventures”
The big family-oriented show at the National Theatre this winter is Robert Louis Stevenson’s Treasure Island (though as it runs in rep right through to April, one hopes Spring will have sprung by then) which has been adapted for the stage by Bryony Lavery. But whilst Polly Findlay’s production has some very definite plus points, not least in an inspired design by Lizzie Clachan which utilises so much of the Olivier’s potential, it doesn’t quite have the full shiver-me-timbers factor to make it an undoubted success.
Clachan frames the theatre’s large revolving drum with a set of lowering curved ribs which suggest all kinds of mystical maritime adventures – the frame of a trusty ship, the ribcage of a giant whale, the quivering trees of a strange island. Deep in the revolve is where the real treasure is though, a warren of cabins that reflect the social hierarchy of the time and later on the maze of tunnels in which the gold can be found. Combined with the sensational starry skyscape up above, Bruno Poet’s lighting looking stunning, this is the National doing what it does so well. Continue reading “Review: Treasure Island, National Theatre”
“To be born a woman is the worst punishment”
The ominous funeral bell tolling throughout the opening of this Radio 3 version of Lorca’s The House of Bernarda Alba is a brilliant scene setter, and a telling reminder that so much of the world of this play is actually only ever heard making it ideal for radio adaptation. Fearsome matriarch Bernarda Alba has declared eight years of mourning after the death of her second husband and orders her daughters to remain barricaded inside the family home with her. The younger women bristle at the restraint, especially as the sounds of the world beyond their gate let them know what they’re missing, and the family trait for stubbornness proves enduringly tragic.
Michael Dewell and Carmen Zapata’s translation sacrifices little of Lorca’s striking poetic imagery but impressively manages to keep a convincing colloquiality to the speech. It helps of course to have a strong cast – Siân Thomas’ Bernarda prickles with venom, Brigit Forsyth’s kindly housekeeper Poncia is achingly good and Kate Coogan and Elaine Cassidy as the oldest and youngest daughters battle excellently for the hand of a man and more importantly, for the freedom it represents. Continue reading “Review: The House of Bernarda Alba (Radio 2014/ DVD 1991)”
BEST ACTRESS IN A PLAY
Helen Mirren – The Audience at the Gielgud
Anne-Marie Duff – Strange Interlude at the NT Lyttelton
Hayley Atwell – The Pride at Trafalgar Studios
Suranne Jones – Beautiful Thing at the Arts
Tanya Moodie – Fences at the Duchess
BEST ACTOR IN A PLAY
Daniel Radcliffe – The Cripple of Inishmaan at the Noël Coward
Ben Whishaw – Peter and Alice at the Noël Coward and Mojo at the Harold Pinter
James McAvoy – Macbeth at Trafalgar Studios
Lenny Henry – Fences at the Duchess
Rory Kinnear – Othello at the NT Olivier Continue reading “2014 What’s On Stage Award nominations”
Best Choreography in a New Production of a Musical
Casey Nicholaw – The Book of Mormon
Peter Darling – Charlie and the Chocolate Factory
Steven Hoggett – Once the Musical
Best Costume Design in a New Production of a Play or Musical
Mark Thompson – Charlie and the Chocolate Factory
Ann Roth – The Book of Mormon
David Woodhead – Titanic Continue reading “2013 BroadwayWorld UK Awards Shortlist”
“If you’re going to talk about sheep deformities, hand me the bottle”
Third up for the Michael Grandage Company is ‘the Daniel Radcliffe one’, the first major revival of Martin McDonagh’s The Cripple of Inishmaan. But though it is being sold on the strength of its star, it is much more of an ensemble piece than first impressions would allow, as a picture of 1930s rural Irish life in all its brusque humour, unstinting relentlessness and occasional vicious kicks is built up. A break from the old routine is offered when a Hollywood film crew arrives on the neighbouring island of Inishmore and no-one is more excited about the opportunity than Cripple Billy, a young orphan lad blighted by physical disability from birth and who spots an opportunity to escape the blunt cruelty of the daily taunts.
Still in previews, Grandage’s production doesn’t quite seem to have decided how it wants to straddle the line between stereotypical olde Oirish sentimentality and McDonagh’s more brutal sensibilities which might be familiar to those that have seen The Beauty Queen of Leenane. Part of the problem lies in a vein of comedy that feels somewhat uninspired so it does, relying on the repeated utterances, without malice mind, of words and phrases that ought to jar in our more politically correct times. But this is essentially one gag extended throughout much of the show and it soon wears thin – the over-emphasis on how kookily different things were back then and over there just isn’t enough to hang a play on, especially when Grandage is playing it as safe as this.
And I also felt that Radcliffe has a way to go before he’s ready to play the part of Cripple Billy. His manifestation of Billy’s affliction is clearly sensitively researched but lacks the raw physicality that should accompany one so bruised by life and one longs for him to submerge entirely into the depths of the character to create something more convincing in his portrayal of someone struggling on the cusp of becoming a young man and establishing some kind of physical and emotional independence – something that could well come as the run progresses. So the focus turns instead to the bustling busybodies of Inishmaan who are mostly very well acted but not a one of them feels like a real person.
Ingrid Craigie and Gillian Hanna hem and haw vividly as Billy’s adopted aunties who point out the shortcomings of the world as they run their shop; Pat Shortt and June Watson pair up effectively as the village gossip and his ailing mother who he keeps topped up with whiskey; and Sarah Greene has an untamed quality as the wild egg-cracking Helen who Billy dreams of kissing one day. But there’s rarely a sense of genuine emotional life behind any of these people, keeping them perilously close to caricature – though possibly as much McDonagh’s fault as Grandage’s – and keeping the audience at arm’s length from the whole affair.
Consequently I really didn’t enjoy this that much – it certainly didn’t move me and I barely laughed. For a tenner though, one can’t complain too much and there did seem to be those in the audience who enjoyed themselves more than us (the reaction throughout was increasingly muted though, I have to say) but this was altogether too polite for my liking.
Running time: 2 hours 25 minutes (with interval)
Booking until 31st August
“Ya wanna look out there, folk lappin’ about in the pool, holdin’ hands, not a care in this world, just row upon row of chalet lines, little boxes full up with little lives, little bits of love”
With Josie Rourke decamping to the Donmar Warehouse, the role of Artistic Director at the powerhouse of new writing that is the Bush Theatre went to Madani Younis, whose first season there has just started with this production of Lee Mattinson’s bleakly funny Chalet Lines which he also directs. Set over a 50 year period in Chalet Number 12 at Butlins Skegness, we trace the family history of four generations of the Walker women as the troubled relationship between mother and daughter seems doomed to repeat itself time and time again.
We start in the modern day with an abortive attempt at celebrating Nana Barbara’s 70th birthday. Oldest daughter Loretta has brought along her two girls, Abigail and Jolene, to the cabin where they’ve always holidayed but things aren’t really going to plan for anyone. Relationships are horribly strained across the board and made worse by the absence of someone important and Mattinson takes us back in time to 1996 and then again to 1961 to explore the reasons for this and the deep-seated behaviour that has caused so much rancour. FYI, this was a preview. Continue reading “Review: Chalet Lines, Bush Theatre”