Undeniably challenging but ultimately thought-provoking and impeccably designed, Exit the King plays at the National Theatre this summer
“You are going to die at the end of the play”
There’s something intriguing about the fact that Eugène Ionesco has never been programmed at the National Theatre before, perhaps a long-present euroscepticism guarding against a writer at the vanguard of the French avant garde scene (give how much Beckett gets staged, it’s clearly not anti-absurdism). But Rufus Norris has looked to rectify this by commissioning a new version of Le Roi se meurt from Patrick Marber, who also directs here.
And as an absurdist drama, Exit the King suggests a bit of different thinking. On the face of it, it’s a simple enough tale – a man is told he only has a day left to live and struggles to deal with it. But that man is a king – King Bérenger – and he’s over 400 years old. And his kingdom is dying around him, with him, stone walls cracking and crumbling away, its people disappearing into the ether, the darkness swallowing everything up whole. Continue reading “Review: Exit the King, National Theatre”
International Rescue Committee (IRC) and Shakespeare’s Globe have come together to mark World Refugee Day with a powerfully moving short film – the “Stranger’s Case”.
Actors from some of the biggest TV shows and Broadway shows have come together with refugees from Syria, Sierra Leone, and South Sudan (half of the people who appear in the film have fled conflict) to perform a previously banned speech widely believed to have been written by William Shakespeare, from the collaborative 16th-century play “Sir Thomas More”.
Watch the film here:
and then explore what Shakespeare’s Globe is doing for #RefugeeWeek, and think about supporting International Rescue Committee’s work here.
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”
- not great news if you were hoping for better female writing and directing representation
- amazing news in terms of advances with the D/deaf community, both as actors and audiences
- equally admirable new efforts to reach out into local communities
- and Indira Varma, Cecilia Noble and Katharine Parkinson
Originally developed as live shows in Melbourne and the Edinburgh Festival, multi-award winning and ‘two-time Edinburgh Comedy Award Nominee’ comic storyteller Sarah Kendall is set to bring her critically acclaimed trilogy of funny and moving stories to BBC Radio 4 starting on Tuesday 28th February. Continue reading “Round-up of news and treats and other interesting things”
“I’m stunned with wonder”
When Rupert Goold first announced the #AlmeidaGreeks season with all its familiar titles, I don’t think anyone could have predicted how genuinely epic a sweep of theatrical innovation it would usher in. From the extraordinary Oresteia to the shattering Bakkhai and Medea, the radical main house programme has been supported by a wide range of supplementary activity, not least the 16 hour, 60+ actor retelling of The Iliad (which can now be viewed in full on the Almeida website).
So it’s only natural that as the season draws to an end, it is bookended by another Homeric extravaganza in The Odyssey, again with 60 odd actors participating in a 12 hour non-stop feat of major storytelling which was live-streamed on t’internet. And conscious of raising the ante, directors Rupert Goold and Robert Icke took us on a literal journey, putting the players in taxicabs, boats, buses, trekking across rooftops and down busy streets to bring Ithaca to Islington as Odysseus winds his way home. Continue reading “Review: The Odyssey, Almeida/Live-stream”
“The reasonable man adapts himself to the world: the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man”
Not gonna lie, the prospect of Man and Superman has had me vacillating between
The play itself isn’t bad, not as good as I’d hoped in all honesty given how lovely and sunny it was outside, and I rarely felt that inspired by it (a consequence of being much farther away than I’m used to I think). So for this one, I’m abdicating my blogging responsibilities and you’ll have to look elsewhere for a review…
Running time: 3 hours 40 minutes (with interval)
Booking until 17th May
“Try not to care so much”
Whilst other people wind down for the end of the year, Nina Raine is certainly keeping busy as her self-penned and self-directed Tiger Country returns to Hampstead Theatre, in advance of Donkey Heart – written by her brother Moses and also directed by her – transferring to Trafalgar Studios 2 in the New Year. Declared one of Hampstead’s most popular commissions, I must confess to being a little surprised to see this 2011 play return as it didn’t stick out as particularly memorable but with the promise of a new cast, I was interested to see how it stacked up nearly four years later.
And it seems that some time away has done it some good – the play feels cleaner, sharper and less encumbered with expository dialogue clearing a path through the medical terminology. I don’t know how much the script has been updated or edited but its spin through the state of the modern NHS feels as keenly observed as ever, visiting the stresses it imposes on those who work within it as well as those who use its services. Raine’s production recaptures the frenetic energy of a hospital and its staff at full stretch – metaphorically, physically, emotionally. Continue reading “Review: Tiger Country, Hampstead Theatre”