Drip by drip, the National is teasing us with the cast reveals for Network.
Latest to be announced is Douglas Henshall who is to play Max Schumacher in this world-premiere of Lee Hall’s new adaptation of the Oscar-winning film by Paddy Chayefsky.
Directed by Ivo van Hove, the cast also includes Tony award winner Bryan Cranston as Howard Beale, and Michelle Dockery as Diana Christenson. Continue reading “Round-up of news and treats and other interesting things”
“While you’ve flitted and you’ve flirted
I’ve had rubber gloves inserted”
The Telegraph describes Travels With My Aunt as the perfect Sunday night musical, but whilst I’m all for a smattering of “gentle feel-good enjoyment” (I loved both Ballykissangel and Monarch of the Glen with the best of them), it’s hard not to feel that this show also panders to the less-flattering side of that comparison too. In that it is thoroughly old-fashionedly middle-of-the-road, the traditional white, middle-class kind of undemanding entertainment that rarely gets the pulse racing yet still raises an eyebrow with the amount of stereotyping that it purveys.
You can see why Jonathan Church chose it to open his last season at the Chichester Festival Theatre, it’s a safe bet for that venue and its typical audience and there’s nothing wrong in that, I just can’t pretend to have any enthusiasm for it. A musical adaptation of Graham Greene’s 19969 novel of the same name, it comes from the same team who brought us Betty Blue Eyes – writers Ron Cowen and Daniel Lipman and composers George Stiles and Anthony Drewe. But where that show had a liberating sense of nostalgia, this one kept me prisoner. Continue reading “Review: Travels With My Aunt, Minerva”
“I had rather have a fool to make me merry than experience to make me sad”
For regular theatregoers, it can sometimes feel a bit hard to get excited about the umpteenth production of a play, so much so that I almost didn’t see the winning combination of the much-loved Blanche McIntyre and Michelle Terry until the very end of their run at the Globe this summer. So the news that Polly Findlay was also tackling As You Like It for the National was tempered a little (though it is the first time in 30 years it has played there) but as Rosalind was announced (Rosalie Craig poached from the cast of wonder.land to replace an indisposed Andrea Riseborough), the excitement began to build and the inevitable ticket was purchased and boy am I glad that I did.
For the transformation of the set into the Forest of Arden is a moment of genuinely breath-taking theatre, Lizzie Clachan pulling the rug from under us and her design to create a most singular vision. And it is one in which enchantment slowly grows with sylvan sound effects created by company members onstage and a choir singing Orlando Gough’s contemporary and complex score (akin if alike to the one he composed for Bakkhai). There’s a lovely conceit in which Alan Williams’ Corins, nominally a shepherd but here more like a forest deity, summons the music every time love is needed to cast its spell, enhancing the magical feel. Continue reading “Review: As You Like It, National Theatre”
“There’s an end of outward preaching now. An end of perfection. There may be a time.”
Between this and Rules for Living, that’s two consecutive openings at the National Theatre that have been written and directed by women. Coincidence that it comes at a moment of regime change, who knows? Those more inclined to actual research might possibly tell you it’s more common you’d think but I doubt it. In any case, it’s pleasing to see Caryl Churchill getting a major production of one of her lesser-performed works at the hands of the talented Lyndsey Turner, who will soon be turning her hand to Benedict Cumberbatch’s Hamlet.
And it is an ambitious mark she has made here with Light Shining in Buckinghamshire, exploding the original six-strong casting of the show to a company of nearly twenty actors, supported by a community company of forty-odd supernumeraries. She needs the bodies too, to fit around an audacious design feat from Es Devlin which is best experienced with fresh eyes if possible, so no spoilers here. It is an inspired choice though, that both sets the scene perfectly for this world of political debate but also deconstructs meaningfully as the full scope of that debate becomes increasingly clear. Continue reading “Review: Light Shining in Buckinghamshire, National Theatre”
“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”
“We cry that we are come to this great stage of fools”
One of the hottest tickets of the New Year is undoubtedly Sam Mendes and Simon Russell Beale tackling King Lear for the National Theatre, a show which has now started previews in the Olivier. I saw it tonight but as press night is a week away next Thursday, I’m opting to preview the show rather than reviewing it per se, offering tasters and teasers about what to expect whilst trying my best to avoid spoilers.First up, you can read an interview here with Simon Russell Beale about how he got his hair did. I assume more features and things are due this weekend as this was the only one I could find about this production. The show currently comes in at a shade under 3 hours 30 minutes and though my initial reaction was along the lines of
Continue reading “(P)review: King Lear, National Theatre”
“Demand me nothing: what you know, you know”
Though I’ve been to the theatre a fair bit over the last few years and taken in more than my fair share of Shakespeare, the distribution across his plays has been far from equitable. I’ve seen more Macbeths, Twelfth Nights and Midsummer Night’s Dreams that I can shake a stick at, yet my first and only Othello to date was in Sheffield back in 2011. Not having previously read or studied it, it was never a play that had really appealed and though I really did enjoy that trip to the Crucible, I can’t say I was dying to see it again. But this high-profile National Theatre modern-day update, featuring Rory Kinnear and Adrian Lester under Nicholas Hytner’s direction, proved impossible to resist, not least with preview prices meaning the £48 seats were going for £20 (and with this running time, it was money well spent).
The Venice of the opening is a non-descript place and it is only with the departure to Cyprus, and specifically here a British base on the island, that the military aesthetic of the production comes to full fruition. Vicki Mortimer’s design captures the sun-blasted stone of the Mediterranean location and the claustrophobically stuffy air of the prefab offices and rooms of the military base, with the only real nod to the geopolitics of the modern-day setting a map of the Middle East behind a desk. The production wears the updating quite lightly: on the one hand, nothing feels too forced to fit in with the concept but on the other, it doesn’t always seem like the most inspired. The bland nature of so much of the setting – the generic office, the shared bathroom, the depersonalised bedroom – mutes something of the tragedy, there’s little grandeur on display to match the heights of the emotion.
Continue reading “Review: Othello, National Theatre”
“Laws are like sausages, it’s better not to see them being made”
‘Released after fifteen years in prison, trapped in a bureaucratic maze, petty criminal Wilhelm Voigt wanders 1910 Berlin in desperate, hazardous pursuit of identity papers. Luck changes when he picks up an abandoned military uniform in a fancy-dress shop and finds the city ready to obey his every command. At the head of six soldiers, he marches to the Mayor’s office, cites corruption and confiscates the treasury with ease. But still what he craves is official recognition that he exists.’
It is probably cheating to use the official synopsis of a play wholesale like this but to be honest, I couldn’t care less after suffering the bloated self-satisfaction of The Captain of Köpenick at the National Theatre. An adaptation by Ron Hutchinson of a 1930s German satire by Carl Zuckmayer, it is a heavy-handed, ploddingly-laboured, fatally-misjudged confection which throws everything plus the kitchen sink into the Olivier but for shockingly low returns.
Running time: 2 hours 30 minutes (with interval)
Booking until 4th April