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?
Photo credits: One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson Twelfth Night –Marc Brenner
The nominees for the 9th annual Mousetrap Awards are announced
These awards are voted for by young people, anyone aged 15-29 is invited to have their say as to who should pick up the trophies at the ceremony on Sunday 19th April. And while usual suspects Dear Evan Hansen, Waitress and & Juliet are leading the pack, it is nice to see such love for Small Island here too.
Mousetrap Theatre Projects strive to make London’s theatre scene accessible to young people, low-income families, mainstream and SEND state schools, and those with additional needs.
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.
The highly anticipated musical Come From Away leaves me dry-eyed at the Phoenix Theatre despite a very strong cast
“There’s nothing to do, nothing to see Thank god we stopped at the duty-free”
I didn’t check the merchandise stand at Irene Sankoff and David Hein’s Come From Away but I wouldn’t be surprised if they were seeing branded tissues, such is the weight of expectation that comes with this musical, set in the days after 9/11. But rather than New York, the show is set more than 2,000 kilometres away in the remote town of Gander, Newfoundland, where 38 planes with 6,579 passengers were grounded in the aftermath of the attacks.
There, in a Canadian town that practically doubled in population overnight, we witness the unfolding of a tragedy but more significantly, the response of a community willing and able to do anything to extend the hand of friendship. Doors are flung open, shoulders proffered, bottles opened, an unquestioned barrage of hospitality seeking to envelop traumatised passengers who had been trapped for hours on their planes (in a pre-social media age remember), only to be released to find out the terrible news. Continue reading “Review: Come From Away, Phoenix Theatre”
I’d thought I didn’t need to see Richard IIagain for a good while but Michelle Terry’s tenure at the Globe is most certainly testing that resolve. The forthcoming production there is to be staged by the first-ever company of women of colour in a Shakespeare play on a major UK stage. Co-directed by Adjoa Andoh and Lynette Linton, Adjoa will also play the titular role. Continue reading “Theatre news round-up”
After a hugely successful run at the Old Vic,Girl From The North Countrytransfers to the Noël Coward with the majority of its cast and all of its melancholy soul intact. Seeing Sheila Atim transform ‘Tight Connection To My Heart’ into the most heartfelt of laments was one of my highlights of 2017 and seeing it once again made me feel like it could easily be one of the highlights of 2018 as well.
Her performance is symptomatic of what makes this show so fantastic. The secret weapon in Conor McPherson’s production is the arrangement of the Bob Dylan songs by Simon Hale, an interpretative masterstroke which weaves the music into the very fabric of these people’s lives. (Though whether that makes this a musical remains anyone’s guess.)
“A little thing would make me tell them how much I lack of a man”
There’s nowt so queer as folk, at least not in Simon Godwin’s version of Illyria here. A gender-swapped Malvolia longs after her mistress Olivia, hipster-fop Sir Andrew Aguecheek is entirely smitten by a flirtatious Toby Belch, Antonio follows up his snog with Sebastian by inviting him to a rendez-vous at local drag bar The Elephant. And that’s before we’ve even dealt with the sexual confusion that Shakespeare himself engineered in Twelfth Night, as shipwreck survivor Viola disguises herself as her presumed drowned twin brother and wreaks havoc on the libidos of Olivia and Orsino alike.
It’s a mark of the success of Godwin’s production that it wears this all so lightly. It’s a modern-dress version for a modern sensibility (if not for the audience member who gasped audibly at the first gay kiss) and one that is rooted in a real sense of playfulness, as an expertly cast ensemble just have a huge amount of fun with it. Phoebe Fox’s delicious Olivia, who gives new life to the phrase ‘dance like nobody’s watching’; Oliver Chris’ Chelsea playboy of an Orsino, in the throes of a mid-life crisis having just turned 40; Tim McMullan’s swaggeringly confident Sir Toby ever accompanied by Niky Wardley’s spirited Maria and the comic masterpiece that is Daniel Rigby’s Sir Andrew. Continue reading “Review: Twelfth Night, National”
“He stinks of drink and urine And thinks he’s so alluring”
One might have hoped that a musical version of William Shakespeare’s The Merry Wives of Windsor by the RSC with a cast that includes Dame Judi Dench, Haydn Gwynne, Simon Callow and a Strallen (natch) would be an enjoyable thing to experience to but on listening to it, it’s clear there is abundant reason I was able to pick up the CD of the live recording for the princely sum of £1 in the RSC shop.
Paul Englishby’s score is an unholy mess of a pick’n’mix bag that someone else has chosen for you – its conflicting styles a dizzying confection that sprawls across the narrative rather than supporting it. Not knowing whether the next song is going to be a tango or a madrigal, take its cues from Big Band or Brecht, or recall Andrew Lloyd Webber or an East London music hall is a most bizarre experience and the cumulative effect is extremely wearying – I have to say it was a real struggle to listen to the whole album in one go. Continue reading “Album Review: Merry Wives the musical (2006 RSC Cast)”
Anne Boleynmarks the first new play in this year’s programme at Shakespeare’s Globe. Written by Howard Brenton, it features Miranda Raison in the title role, continuing a character that she also plays in Shakespeare’s own Henry VIII, also playing in rep. This is a review of the first preview, so please bear that in mind whilst reading my thoughts below.
The play covers the life of Anne Boleyn from her time in court as one of Katherine of Aragon’s ladies-in-waiting, through her developing relationship with Henry VIII and the ideals of Protestant reform, ideas that ultimately caused her downfall but also sowed the seeds for the huge upheaval that culminated in the Civil War. What Brenton has done though, is to couple this story with the story of James I trying to establish control over a sceptical kingdom and varied religious groupings, centring around his commission of a new translation of the Bible. James is haunted, literally, by Anne’s ghost and her legacy and the two combine to great effect. Continue reading “Review: Anne Boleyn, Shakespeare’s Globe”
“You that thus far have come to pity me, hear what I say, and then go home and lose me”
Not having seen Henry VIIIbefore, I wasn’t quite sure what to expect from the second play in the Kings and Rogues season at Shakespeare’s Globe (this was the second preview) and as delightfully coloured cod-pieces and a mightily impressive heaving bosom (bosoms?) emerged in the course of the first act, I suspected we could be in for a right rollicking good time. This play takes place in the middle of Henry’s reign and follows the rise and fall of four important people in his life, the Duke of Buckingham, his first wife Katherine of Aragon, the Lord Chancellor Cardinal Wolsey and Archbishop Cranmer. It mixes up elements of history, tragedy and romance and wraps it all up in the opulent pageantry of the era but it also allows us to see behind the scenes, the gossiping, the politicking and those moments when the mask slips and we see glimpses of the real people behind the public personae.
It is full of stately pomp and circumstance and the set-pieces are visually stunning: Anne Bullen’s procession through the theatre at her coronation, Princess Elizabeth’s christening, even Katherine of Aragon’s trial, all are sumptuously mounted and there are some truly moving moments, especially at the moment of downfall of each of the above-mentioned players. But in truth, Henry VIII plays as a series of episodes rather than a long play and there’s surprisingly little interaction between many of the key characters. This could be to do with the much-debated true authorship of the play, it has been suggested that it was a collaboration between Shakespeare and another playwright John Fletcher, though my knowledge on this is limited to reading the programme notes so I couldn’t possibly come down on one side or the other. Either way, there is much unevenness in this play and as a result it is only fitfully engaging. Continue reading “Review: Henry VIII, Shakespeare’s Globe”