Mike Bartlett’s new TV show Life is rich in middle-class miseries and stellar performances from Victoria Hamilton and Alison Steadman
“One can’t have blessings without sufferings”
My main feelings about Mike Bartlett’s Life revolve around Rachael Stirling and thus are somewhat spoilerific – consider yourself warned! I was highly excited to see Stirling back on our screens so I was a tad disappointed when it turned out that her character was in fact a ghost and could only be seen by her grieving husband Adrian Lester.
But then when it was revealed that she was in fact a bisexual ghost – a proper shout at the TV moment – and her entanglements drew in at least one other, it was a glorious pay-off which almost, almost made up for her not being a full-on member of the ensemble. And its a hefty ensemble, set in a large house split into four flats in which four sets of tenants are all facing their own trials. Continue reading “TV Review: Life (Series 1)”
It is Caryl Churchill’s turn to get the Tristram Kenton treatment from the Guardian’s archive, and what an impressive array of talent that have understandably flocked to this most remarkable of playwrights:
Photos: Tristram Kenton
A Marvellous Party – Digital celebration to mark the centenary of Noël Coward’s West End Debut
The Noël Coward Foundation has announced A Marvellous Party, a transatlantic, star-studded collection of performances celebrating the continuing legacy of Noël Coward and coinciding with the 100th anniversary of his West End debut as a 19-year-old playwright.
This unique celebration features words and music by Noël Coward, performed by Kate Burton, Judi Dench, Stephen Fry, Montego Glover, Derek Jacobi, Josh James, Cush Jumbo, Robert Lindsay, Kristine Nielsen, Bebe Neuwirth, Julian Ovenden, Patricia Routledge, Kate Royal, Emma Thompson, Giles Terera, Indira Varma and Lia Williams. Continue reading “News: Digital celebration to mark the centenary of Noël Coward’s West End Debut”
I’m loving this deep dive that the Guardian is doing into Tristram Kenton’s archive, this time taking a turn to the many David Hare productions he has been witness to. Highly recommended (the photos, not the Hare):
Photos: Tristram Kenton
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
No amount of prosthetics can stop this from being my…Darkest Hour
“The deadly danger here is this romantic fantasy of fighting to the end”
Eesh. The world already has too many Churchill films, never mind the fact that two big ones were released in the same year (Brian Cox’s Churchill was the lower profile one here). And for me, there’s nothing here in Joe Wright’s direction or Anthony McCarten’s writing that merits the retread over much-covered ground.
That is not the prevailing opinion obviously, as the film’s seven Oscar nominations testify, but it is what it is. No amount of latex makes Gary Oldman’s performance palatable (and isn’t it odd that he’s getting such acclaim for a role in which he is unrecognisable), and it is a crime in the ways in which the likes of Patsy Ferran and Faye Marsay are under-utilised, nay wasted. Continue reading “Oscar Week Film Review: Darkest Hour”
“We should show life…as we see it in our dreams.”
The Seagull may be the most ensemble-focused of the three plays that make up Young Chekhov but with the glorious Anna Chancellor appearing as the mercurial Arkadina – her star cachet getting her out of having to do either of the other two – the attention can’t help but be drawn to her and her extraordinary stage presence.
This may be the most well-known of the Chekhov plays being presented here, it certainly deservedly emerges as the strongest, and so David Hare’s freshened-up version has little of the heavy work it had to do with the others. Jonathan Kent’s production places it at the end of the three-show day deliberately, it’s where it sits chronologically and you really do get to see the maturation of the writer, his ability to develop his characters and themes more dramatically effectively. Continue reading “Review: Young Chekhov – The Seagull, National”
“Whatever you do, don’t rely on your own judgement. That’s the worst mistake you could make
Platonov wasn’t performed in Chekhov’s lifetime and even in this radically adapted version by David Hare, I’m not 100% sure that it works. You can see the attraction in terms of the Young Chekhov context – a trilogy of the Russian’s early work – but for me, the main pleasure comes in seeing the benchmark from which his later genius advanced.
It’s not for lack of trying from Jonathan Kent’s production, lead by a sparkling performance of disreputable charisma from James McArdle as an unhappily married teacher intent on spreading his vodka-fuelled discontent through the bedsheets of most of the local community, not least Nina Sosanya’s Anna and Olivia Vinall’s Sofya, with little care for the impact of his actions. Continue reading “Review: Young Chekhov – Platonov, National”
James McArdle, for Platonov in Platonov (Chichester Festival Theatre)
Elliot Barnes-Worrell, for Straker in Man and Superman (National Theatre)
Freddie Fox, for Romeo in Romeo and Juliet (Sheffield Crucible)
Joel MacCormack, for Orestes in The Oresteia (Shakespeare’s Globe)
Ken Nwosu, for Silvius in As You Like It (National Theatre)
Jack Colgrave Hirst, for Clown in The Winter’s Tale (Kenneth Branagh Theatre Company at the Garrick Theatre)
Joshua James, for Konstantin in The Seagull and Nikolai in Platonov (Chichester Festival Theatre)
Emily Barber, for Imogen in Cymbeline (Shakespeare’s Globe)
Jenny Rainsford, for Miss Prue in Love for Love (Royal Shakespeare Company)
Jessica Baglow, for Marina in Pericles (Shakespeare’s Globe)
Jessica Brown Findlay, for Elektra in Oresteia (Almeida Theatre and Trafalgar Studios)