179 posts categorized "National Theatre" Feed

Theatre streaming: National Theatre announces four more brilliant plays to watch at home

When the National Theatre announced it was going to be streaming plays from its archive I had a wish list in my head of what I'd like to see or see again.

NT Live May June play streaming detailsAnd one of the ones that I really want to see again is Tom Hiddleston's Coriolanus at the Donmar Warehouse back in 2013.

It was a super hot ticket as the Donmar is such a small, intimate theatre - and TH was becoming a big-screen star then - and so I was chuffed to bits that I managed to get a pair of tickets.

The quality of the performances and the portrayal combined with the fact that I was sitting a few feet from the knee-level stage made this such a memorable production.

And then there is A Streetcar Named Desire starring the amazing Gillian Anderson and Ben Foster which was also on my 'love to see again' list.

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10th Birthday list: Best play I've seen for each of the last 10 years (or the agony to choose list)

So this month Rev Stan's Theatre blog is 10 years old. My first post was 18 April 2010, it took a couple of weeks before I was to post again but the marker was in the sand.

Various theatre tickets

I had lots of ideas for fun theatre nerdery to celebrate but the lockdown has clipped my wings a little bit as many of them involved actually be at the theatre.

But not to let a decade of theatre bloggery go by without marking the occasion I've got a few other things up my sleeve for the coming few weeks/months.

And to kick things off I've compiled a list of my favourite play for each year I've been blogging (I did my 10 best plays of the decade back in December).

It has been fun revisiting my best-of lists but absolutely agony narrowing each list down to just one, as you will see.

I'm still not 100% happy but here goes:

2010

I initially chose The Pride, Lucille Lortel Theater, New York which saw Ben Whishaw make his Broadway debut alongside Hugh Dancy and Andrea Riseborough but then I realised that technically I saw that in February 2010 before Rev Stan's Theatre blog was born. So I've reluctantly decided it doesn't count.

So my second choice is Clybourne Park, Royal Court Theatre. It's a play that set the benchmark for uncomfortable humour and one which I regularly reference when talking about superb dark comedies.

2011

Jeez, this was a tough one. This was the year I saw Jerusalem, Much Ado with Tennant and Tate and Collaborators, National Theatre to name just three. But with much soul-searching I'm going to choose Flare Path, Theatre Royal Haymarket because it was so beautiful and warm and sad and I'll always remember Sheridan Smith's trembling bottom lip and a brilliant early performance by Matthew Tennyson. Saw it more than once too.

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Theatre streaming announcement: National Theatre to show Frankenstein with Benedict Cumberbatch and Jonny Lee Miller

This stage production of Frankenstein was such a big deal when it was announced.

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Benedict Cumberbatch, Jonny Lee Miller and Danny Boyle at the National Theatre's Frankenstein post-show Q&A

Benedict Cumberbatch was just transitioning from jobbing actor into a screen-star and it was also a return to stage directing for Danny Boyle after a run of successful films including Slumdog Millionnaire.

But more than that, the play's two leads - BC being joined by Jonny Lee Miller - were going to alternate roles, taking it in turns to play the creature and Frankenstein.

I was lucky enough to see both versions on stage as well as attending the cast and director Q&A for charity.

Not one but two versions

Both versions of the casting are going to be streamed by the National Theatre starting with Benedict Cumberbatch as the creature on April 30 and you can find all the details here.

Can't wait to see them both again and it looks like there might be an opportunity to watch both versions back to back.

When in lockdown...

Did you see Frankenstein, looking forward to seeing it again?

Related reading:

Frankenstein charity Q&A highlights.

My review: First viewing with Jonny Lee Miller playing the creature

Theatre in the time of coronavirus - how to get your stage fix during the lockdown


Theatre streaming: National Theatre announces NT Live streaming from April

As soon as theatres went dark last week, my first thought was when the National Theatre would open up its NT Live archive and offer some productions for streaming.

NT Live logo

Well, it's happening, starting on 2 April, every Thursday at 7 pm an NT Live production will be streamed on YouTube.

There are 11 seasons worth of NT Live productions in the archive but people who know more than me about these things reckon it will only be plays from the which are already approved for use by schools. So this list here.

The first production to stream is One Man, Two Guvnors and you can find details of the rest of productions being streamed in April here on the National Theatre's website.

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End of year review: My favourite theatre of 2019, a year of dazzling performances, wit, drama and tears

It's been tough but I've managed to whittle down my 'best theatre of 2019' list to 10 plays, well, one isn't actually a play but deserves a place nonetheless. So here goes, in no particular order:

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Photo by Jon Tyson on Unsplash

1. Downstate, National Theatre

A challenging, difficult play with humour and wit inflected with wisdom that carefully balanced entertainment without detracting from the seriousness of the subject matter.

2. Betrayal, Harold Pinter Theatre

I wasn't that enamoured with Jamie Lloyd's season of Pinter shorts and then came along Betrayal and it was utterly breathtaking.

The sparse script was layered with nuanced performances from Tom Hiddleston, Zawe Ashton and Charlie Cox. What wasn't said screamed loud.

3. Seven Methods For Killing Kylie Jenner, Royal Court upstairs

This made a lot of what is on stage in London look stodgy and staid. A fresh and achingly contemporary play that cleverly and boldly tackled social media and what it reveals about modern society.

4. Hansard, National Theatre

One of those plays that get mentioned a lot in theatre conversations, this was an extremely witty and acerbic political drama/comedy which had an unexpected emotional punch.

I loved it also for its balance approached in scrutinising both left and right-leaning politics.

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End of year review: My 5 least favourite plays of 2019

I always go to the theatre expecting something good, hopefully amazing, but it doesn't always work out that way for a variety of reasons. Here is a list of what hasn't impressed me, my 5 least favourite plays of 2019.

National theatre nudity and violence warning

In no particular order (links through to my reviews):

1. When We Have Sufficiently Tortured Each Other, National Theatre

My first chance to see Cate Blanchett on stage and she had to choose this tedious play which rendered potentially interesting themes cold, unengaging and, well, boring.

Despite the warnings (see pic) it was emotionally flaccid and about as exciting.

Still disappointed and a bit angry.

2. Admissions, Trafalgar Studio

It's a play about white privilege, told entirely from the nice, safe perspective of a white middle-class family. Oh, the irony.

Admissions failings are particularly stark given the swathe of powerful and clever plays we've had this year about race and prejudice for example Fairview, A Kind of People, Queens of Sheba and My White Best Friend.

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Review: 'Master Harold'... and the Boys, National Theatre - lessons and losses

It is a play about lessons and devastating loss, about how you can't dance around injustice and its impact.

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Athol Fugard's semi-autobiographical play is set in a tea room in Port Elizabeth, South Africa in 1950.

It is a wet afternoon - rain patters on a skylight - and Willie (Hammed Animashaun) and Sam (Lucian Msamati) are making the most of the quiet to practice their ballroom dancing steps ahead of an important competition in two weeks.

Hally (Anson Boon) the owner's son arrives to hang out and do his homework as is his routine.

Spectre of apartheid

There is an obvious friendship between the three, with familiar banter and games but the spectre of apartheid lurks in the background.

As they reminisce about Hally's early childhood we learn how Sam has become an influential figure for Hally who has a difficult relationship with his actual father - an amputee with a drink problem.

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Interview: Director Harry Mackrill on his new play, working on Angels In America and dream casts

"I can’t begin to describe everything I’ve learnt from some incredible directors. Their passion and dedication is perhaps the most immediate thing that comes to mind."

Harry Mackrill - World's End
Harry Mackrill

Director Harry Mackrill lastest work is World’s End, the debut play from upcoming writer James Corley at The King's Head Theatre and he's recently been announced one of the theatre's new artistic associates.

As an associate director, he's worked on two epic productions at the National Theatre: Angels in America and Peter Gynt and spent a year at the Kiln Theatre.

I asked him about his latest work, the role of an associate director and if he knew Angels was going to be such a huge success.

Tell us a bit about World’s End the play you are directing at the King’s Head and what drew you to the work?

World's End is a story, set in 1998 against the backdrop of the approaching Millennium and the Kosovo war, which charts two neighbouring families – both single parents – and how their sons fall in love whilst playing Zelda on the Nintendo.

This is a play about first love. When we meet Ben and Besnik they are both dealing with their own fears and insecurities about the outside world, but together they find security and passion.

I think James [Corley] has written two wonderful LGBT figures in the two characters, but the love they find in each other is something that is universal.

It is a profoundly moving, visceral piece of storytelling. I am drawn to work that embraces stillness, and James understands the power of simplicity.

It’s a gift to be able to work on the play – both in the writer-director relationship, but also with the actors and seeing the characters come to life.

How would you describe your directing style and what was your approach for this play?

I’m not sure I’m best placed to answer this question – I have set of rules that I approach each production with.

My main passion for directing comes from a love and respect for actors: what they do and the fact that they are brave enough to do it.

I think my role as the director, in the rehearsal room, is to create a space that is supportive and rooted, so that actors can do their best work.

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Review: Hansard, National Theatre - exceptionally witty, acidic and punchy drama

Simon Woods' debut play Hansard, a political drama, is set in 1988 but feels like it was written for now. Certainly watching it on the day Prime Minister Boris Johnson announced he was going to prorogue Parliament added an extra frisson of meaning to some of the lines.

Hansard poster national theatre

Set in the Cotswolds home of Tory MP Robin Hesketh (Alex Jennings) he is reunited with his wife Diana (Lindsay Duncan) having returned from working in London for the week.

Thatcherism is in full swing, the UK economy is riding high on an economic boom and the Poll Tax is on its way but all is not right in the Hesketh house and it's not just the foxes digging up the garden or Diana's hangover.

A two-hander it starts off as the sort of bickering long term couples almost enjoy, the familiar digs and quips but the comments become increasingly barbed and weighted.

Diana isn't the traditional Tory wife, she doesn't like the Tories for a start and isn't shy about it but Robin doesn't hold back in his opinion of her more liberal, left-leaning views either.

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Review: Anna, National Theatre - a thriller in which sounds tell the story

This is a taut thriller and an interesting and different play watching experience.

Anna National Theatre poster

At the curtain call of Anna, the cast hold up a series of cards which spell out 'No Spoilers' so I'm going to attempt to write my review without giving anything away.

It's set in East Berlin in 1968 and centres on married couple Anna (Phoebe Fox) and her husband Hans (Paul Bazely) who are having a celebratory party but there is an underlying tension to the convivial atmosphere.

Staged in a unique style, the apartment is set is behind a glass screen and each audience member has a headset through which to hear the dialogue.

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