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
Created by playwright Ella Hickson (The Writer) and sound designers Ben and Max Ringham, ANNA is directed by Natalie Abrahami with real ingenuity, as individual audio headsets are used to give us a unique perspective on a play, directly from the viewpoint of Phoebe Fox’s Anna. It didn’t work for me.
Running time: 65 minutes (without interval)
Photos: Johan Persson
ANNA is booking at the National Theatre until 15th June
The Olivier Awards 2017 has announced the list of people who’ll be handing out awards at the ceremony, hosted by Jason Manford of all people, on Sunday 9th April in the august surroundings of the Royal Albert Hall.
Presenters this year include – deep breath – David Baddiel, Alfie Boe, John Boyega, Michaela Coel, Leanne Cope, Julian Clary, Robert Fairchild, Ben Forster, Phoebe Fox, Andrew Garfield, Denise Gough, Matt Henry, Ruthie Henshall, Amanda Holden, Rufus Hound, Cush Jumbo, Nathan Lane, Rose Leslie, Maureen Lipman, Danny Mac, Audra McDonald, Lin-Manuel Miranda, Laura Mvula, Paul O’Grady, Tracy-Ann Oberman, Sophie Okonedo, Charlotte Ritchie, Mark Rylance and Russell Tovey. Continue reading “News: Olivier Awards presenters revealed”
“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”
“Sorry I go a bit weird and wonky sometimes”
On the third day of Christmas, Black Mirror gave to me…three cheating lovers
The Entire History of You is the final part of the first series of Charlie Brooker’s Black Mirror and finds itself somewhere in the middle of the preceding two episodes in terms of its sci-fi/reality interface. Here, future technology has advanced so that people have ‘grains’ implanted that record memories and allow them to played back whenever but the story it is used to tell is an all-too-familiar one of human jealousy.
Toby Keggell’s Liam is an unhappy lawyer whose miserable state of mind after a difficult work appraisal leads him to suspect his wife, Jodie Whittaker’s Ffion, of having an affair with a former lover called Jonas, a suave Tom Cullen. It played out eerily effectively, especially in the look on people’s faces when ‘recalling’ but never really took flight into as superlative a piece of television as episodes one or two. Continue reading “12 Days of Christmas – Black Mirror 1:3”
Somewhat appropriately in the week following International Men’s Day with its theme this year of male suicide, two shows tackling the subject open in London. Ella Hickson’s Boys gets a short revival at the LOST Theatre (read my review of the 2012 Soho Theatre production) and new musical Catch Me, written by Arnoud Breitbarth and Christian Czornyj, slots into the Above the Arts Theatre – I’ll be ‘catching’ it later in the week so watch this space for a review.
Continue reading “Round-up of news and treats and other interesting things”
“The king’s name is a tower of strength”
The Hollow Crown reaches its climax with a solid and occasionally very strong Richard III which once again shimmers with quality and hints of artistic innovation. And for all the lauding of Benedict Cumberbatch’s starring role, it is pleasing to see Dominic Cooke and Ben Power give Sophie Okonedo’s excoriating Margaret of Anjou her due as one of the real pleasures of running these plays together is to trace her complete arc (for she’s the only character to appear in them all) and root her enmity – alongside that of so many others – in something most palpable.
Cooke’s direction also benefits from loosening its representational restraints, Richard III’s monologues and asides make this a different type of play and Cooke responds with a series of interesting choices (though the surfeit of nervy finger-tapping was a touch too much for me) making great use of both gloomy interiors and hauntingly effective exteriors. Playing so many scenes in woodlands was an inspired decision as it leant a real eeriness to proceedings, whether Margaret or Richard bursting from the bushes to disrupt the private mourning of Elizabeth or Anne. Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 3. Richard III”
“I was a woeful looker-on”
On a night when the real drama was unfolding in Stockholm’s Globen arena and the main internecine conflict was between the juries of music professionals and the public vote as revealed by the new counting mechanism, the BBC’s decision to schedule The Hollow Crown against the Eurovision Song Contest didn’t work for me. Last week’s Henry VI Part 1 was a great reintroduction into these quality adaptations as it started the new series but the follow-up doesn’t quite match the same level.
Part of the issue lies in the seemingly accepted wisdom that the Henry VI plays are problems that need solving – I’ve still not managed to see a conventional production of the trilogy to use as a benchmark – and so the plays are often abandoned to the mercies of the vision of writers and directors. Such is the case with The Wars of the Roses: 1. Henry VI Part 2, chopped down and frantically paced, there’s a whole lot of fury but just not enough feeling (though if you’re a fan of battlefields and decapitated heads, you might fare better than I did). Continue reading “TV Review: The Hollow Crown – The Wars of the Roses: 1. Henry VI Part 2”
“We’re here to outplay a scenario”
I can’t remember who alerted me to Jack Thorne’s War Book being on iPlayer but I’m grateful to them as it is a classy little thing indeed, boasting a top-quality cast and Tom Hooper on directorial duties. A BBC4 drama that takes place over the three days of a role-playing exercise by the government in which assorted civil servants take on the mantle of the different departments tasked with responding to the outbreak of nuclear hostility between two countries, a conflict which threatens to break out into all-out nuclear war.
Designed as a hothouse experiment to produce the kind of thinking that can’t be replicated in traditional briefings, Thorne subtly suggests how decision-making, even at this level, can be shaped by personal circumstances (the husband struggling with his wife’s illness) but also how we’re not all in thrall to their influence (the cancer survivor who has to advocate for the withdrawal drugs from the general public). And as the ‘crisis’ escalates, serious questions are asked and discussed about what it really means to be a nuclear power. Continue reading “TV Review: War Book”
“We’re living in extraordinary times Virginia”
I think Rachel Freck and I would be very good friends, given the exquisite job she did in casting BBC1 miniseries Life in Squares very much according to my preferences. Phoebe Fox and Eve Best, Lydia Leonard and Al Weaver, James Norton and Rupert Penry-Jones and Elliot Cowan, plus bonus Deborah Findlay and Emily Bruni amongst many more – the stuff of my dreams. So I was already very well-inclined towards this retelling of the travails of the Bloomsbury set, written by Amanda Coe and directed by Simon Kaisjer, before it had even started.
Fortunately it also delivered well over its three hour-long episodes, giving us costume drama with a bit of a difference (and a smattering of raunch as its publicity campaign unnecessarily blurted). Kaisjer’s vision was less opulent fantasy than lived-in reality, albeit through an artistic filter, and so handheld camerawork mixed with everyday costumes to achieve this more rooted ethos. And Coe’s script putting one of the lesser celebrated of the set – Vanessa Bell née Stephens – at the heart of the narrative gave the narrative the freedom to stretch out across multiple timeframe, remaining fresh all the while. Continue reading “TV Review: Life in Squares”