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”
The latest venue to announce the opening of their digital archive in order to satisfy our theatrical cravings is the Hampstead Theatre who, in partnership with The Guardian will re-release the live stream recordings of Mike Bartlett’s Wild, Beth Steel’s Wonderland and Howard Brenton’s Drawing the Line for free.
Available to watch on theguardian.com and hampsteadtheatre.com, the three productions will be made available, on demand, over three consecutive weeks as part of the theatre’s #HampsteadTheatreAtHome series and the first of these – Wild – is available now. And once you’ve watched it, take a look at the ways you can support the Hampstead Theatre here. Continue reading “News: #HampsteadTheatreAtHome launches this week”
Ever behind the curve, I present 10 of my top moments in a theatre over the last ten years (plus a few bonus extra ones because whittling down this list was hard, and it will probably be different tomorrow anyway!)
Extraordinary Public Acts for a National Theatre
The establishment of the Public Acts programme at the National Theatre offered up something sensational in Pericles, an initiative designed to connect grassroot community organisations with major theatres, resulting in a production that swept over 200 non-professional performers onto the stage of the Olivier to create something that moved me more than 99% of professional productions. A truly joyous and momentous occasion.
Honourable mention: this year’s musical take on As You Like It proved just as heart-swellingly beautiful over at the Queen’s Theatre Hornchurch. Continue reading “10 of my top moments of the decade”
Some titanic acting performances from Sally Field, Bill Pullman and Colin Morgan in this superb All My Sons at the Old Vic Theatre
“We all got hit by the same lightning”
You do wonder how new playwrights are ever going to get a look-in when Arthur Miller can dominate London theatres without it even being a significant anniversary year for him. That said, the Old Vic’s second Miller in a row sees a Headlong co-production of All My Sons (with Death of a Salesman imminent at the Young Vic, he’ll have the run of The Cut) that gives an enviable target to aim for.
I’ve seen a handful of All My Sons since starting the blog, from the sublime and superb to the somewhat less impressive, and it is remarkable how it stands as a play that really needs little doing to it for its quality to shine through. And so it is with Jeremy Herrin’s production here, a relatively straightforward one for Headlong all told, but all the more effective for it. Continue reading “Review: All My Sons, Old Vic”
#1 in the National Theatre’s Queer Theatre season of rehearsed readings
“My God, I wanted three daughters like the Brontes and I ended up with a family fit for a Channel Four documentary”
There was a special currency for Sarah Daniels’ Neaptide being the opening play in the #ntQueer season as this 1986 drama was actually the first by a living female playwright at the National Theatre – an astonishing fact all told. And it is perhaps sadly predictable that Daniels now finds herself somewhat neglected as a writer, despite being prolific in the 80s and 90s.
Neaptide proved a strong choice too, a powerful exploration of the extent to which lesbian prejudice permeated society and institutions even as late as this, and indeed how little we’ve moved on – in some ways. Daniels presents us with three generations of lesbians and explores how they deal with working or studying at the same school when a scandal threatens to upturn all of their lives. Continue reading “Review: Queer Theatre – Neaptide, National”
“That thing went bang, kaboom. And he’s havin’ some fun now”
There are shows I love and then there are shows I LOVE and Little Shop of Horrors most definitely falls into that latter category. I fell for its undeniable charms when I was 11 or 12 I think, when my mum was involved in her school production of it, letting me wander backstage, and the MD, who was also my piano teacher, snuck out a copy of Alan Menken’s most tuneful of scores to enliven my lessons for a good few weeks. Combined with the cult classic that is the movie version, I was utterly hooked and have remained so ever since. So I was most delighted to see the Royal Exchange announcing it as their festive fare and with the ever-exciting Derek Bond directing, who in recent years has delivered a bewitching As You Like It, the hugely under-rated Many Moons and Lost in Yonkers, through which I cried pretty much non-stop.
The gloriously rich vocal harmonies of Ibinabo Jack, Ellena Vincent and Joelle Moses as Chiffon, Crystal and Ronnette, the girl-group Greek chorus who doo-wop their premonitions of doom, are an ever-present and magnificent hook into the action and never more so than in the stellar one-two that opens the show. ‘Little Shop of Horrors’ is a stone-cold classic theme tune with its shang-a-langs and throaty comma comma commas but ‘Skid Row’ – one of my all-time favourite songs from a musical, I should add – blooms into resplendent life, benefitting from a slightly slowed tempo and some sympatico choreography to really nail the air of quiet desperation that lies at the song’s heart as we’re introduced to this classic “boy-meets-girl-feeds-plant-her-boyfriend-gets-famous-kills-boss-sacrifices-girl-and-dies” story. Oh yeah, spoiler alert 😉 Continue reading “Review: Little Shop of Horrors, Royal Exchange”
“They weren’t lies, they were well researched stories that later turned out not to be true”
Just a quickie for this unexpected revisit to Great Britain. I hadn’t intended to go back to this Richard Bean play, which made a rapid transfer from the National Theatre to the Theatre Royal Haymarket after its up-to-the-minute emergence on the schedule after the culmination of a certain trial involving a certain Eastender-star-bashing redhead. But the offer of a good ticket and the chance to see Lucy Punch – of whom I’ve heard much but never seen on stage – tempted me once again into this murky world of tabloid junkies.
“That’s what we do, we destroy lives…but it’s on your behalf, because you like to read about it”
It’s not quite Beyoncé releasing her latest album without prior notice but it’s not far off. Richard Bean’s new play for the National was something of an open secret even if its specifics were unknown but still, announcing it with five days’ notice and no previews is a pretty bold move. What Great Britain has going for it though is a right-up-to-the-minute immediacy as Bean responds with speed to the scandals that have engulfed certain sections of the tabloid media in recent times and a court case that may or may not have just reached a verdict…
We’re in a satirical, pseudo-recognisable world – a ratings-hungry red-top (called The Free Press) is owned by a foreign-born media mogul who wants to buy a television station (an Irishman called Paschal O’Leary if you will) and has a fiercely ambitious news editor at its helm (a blonde woman called Paige Britain, she didn’t say she was “vindicated” so I have no idea who she was meant to be…). Manipulating their way to a position of huge influence with both Police and Parliament under their thumb, it seems nothing could go wrong. That is, until a little thing called phone hacking breaks into the national consciousness. Continue reading “Review: Great Britain, National Theatre”
“I’m the son of a son of a son of a collier’s son, the last in a long line”
So this is actually a review of a preview, although it was not intended to be. Beth Steel’s Wonderland was meant to open on Thursday but had to delay it until next week due to “ensure the safety of the cast” which may seem a little dramatic but once you enter the Hampstead Theatre’s main auditorium, it soon becomes clear that this was no idle claim. The theatre has gone into the round again and this time, Ashley Martin Davis’ awe-inspiring design has carved out a 3-storey high pit shaft that operates at three levels. Even the act of walking to your seat (if you’re on the stage) becomes precarious as high-heeled shoes must be removed and if you don’t like heights, I wouldn’t look down…!
In a year that marks the 30th anniversary of the miners’ strike, Steel’s play instantly feels well-timed but cleverly, it is not the play you might be expecting. The presence of Arthur Scargill and Margaret Thatcher loom large (how could they not) but the focus lies elsewhere, in the heart of a Nottinghamshire mining community that feels the effects of the strike, and its lingering aftermath, most keenly indeed. We join the play as two lads start their first day down the pit and are initiated into its unique working ways and its all-encompassing camaraderie, right at the moment that the government has decided to take on the miners as part of a schismatic ideological shift in workers’ rights. Continue reading “Review: Wonderland, Hampstead Theatre”
“Ladies and gentlemen, please leave your mobile phones…on”
2. No, I really liked it
4. It has a fosterIAN award-winning actress in it
5. And a fosterIAN award-winning actor
Running time: 2 hours 30 minutes (with interval)
Booking until 31st May