Lots of exciting news coming out of the National Theatre today, including actors Nicola Walker, Giles Terera and Kristin Scott Thomas, directors Simon Stone, Lynette Linton and Nicole Charles, and returns for Small Island, Beginning and The Ocean at the End of the Lane
The National Theatre has today announced nine productions that will play on the South Bank in 2020-2021 alongside previously announced shows. These run alongside their international touring productions, three plays that will tour to multiple venues across the UK and a West End transfer. The NT also announces today that it will increase the quantity of low-price tickets on the South Bank by 25%, with 250,000 available across the year at £20 or less.
In the Olivier Theatre the critically acclaimed production of Andrea Levy’s epic novel Small Island directed by Rufus Norris returns following a sold-out run in 2019. Adapted for the stage by Helen Edmundson, the revival will run from late October 2020 with casting to be announced. Continue reading “News: the National Theatre announces 9 new productions for 2020-21”
“I don’t think you realise how extraordinary your anger is”
So Rupert Goold closes his #AlmeidaGreeks season by directing Kate Fleetwood, who just happens to be his wife, in the title role of Medea. And as with Oresteia and Bakkhai, a new version has been commissioned from an unconventional source, this time novelist Rachel Cusk. So we leave ancient Greece for modern-day London, Medea becomes a writer whose actor-husband Jason has left her for a model and the chorus becomes a garrulous gaggle of pashmina-wielding yummy mummies as concerned with the calories in croissants as the parenting of their peer.
Cusk frames her play essentially as a series of conversations by which Medea finds herself pummelled, in search of a self she hid for 15 years of marriage and is struggling to relocate post-divorce and where Fleetwood excels is in showing the range and depth of her despair. Lacerated into silence by Amanda Boxer’s caustic nurse, lambasted by children who won’t leave her alone (Louis Sayers and Guillermo Bedward both excellent at this performance), left behind by Justin Salinger’s Jason with whom she argues thrillingly viciously, the intensity is immense and Fleetwood sustains it throughout. Continue reading “Review: Medea, Almeida”