National Theatre
Lumiere London review - London in a different lightSaturday, 20 January 2018
It seems they’re having trouble with the lights. Thirty-five past five and they’re not yet on. “Typical,” laughs a woman, surveying the huddle of hi-vis chaperones. Palm fronds wave in the wind, suits leave work. St James’s Square slowly fills with... Read more... |
Best of 2017: TheatreSaturday, 30 December 2017
Year-end wrap-ups function as both remembrances of things past and time capsules, attempts to preserve an experience to which audiences, for the most part, have said farewell. (It's different, of course, for films, which remain available to us... Read more... |
Pinocchio, National Theatre review - boy puppet lifts off, eventuallyFriday, 15 December 2017
From Nicholas Hytner and Alan Bennett’s wonderfully nostalgic version of The Wind in the Willows through Coram Boy, the international smash hit War Horse and beyond, the National Theatre has a startling track record in turning what used to be... Read more... |
Network, National Theatre review - Bryan Cranston’s searing London stage debutTuesday, 14 November 2017
Outrage knows no time barrier, as the world at large reminds us on a daily basis. So what better moment for the National Theatre to fashion for the internet age a stage adaptation of Network, the much-laureled 1976 celluloid satire about lunacy... Read more... |
Douglas Henshall: 'You can get stuck when you’ve been in the business for 30 years' - interviewMonday, 06 November 2017
“I’m mad as hell and I’m not going to take this anymore!” In 1976 American anger about the state of the nation was channelled into Network, in which cinema satirised its kid sibling television as vapid and opportunistic. Paddy Chayefsky’s script,... Read more... |
Beginning, National Theatre review - assured, intimate, but short of surprisesSaturday, 14 October 2017
Loneliness: in the age of the digital hook-up and the flaunting narcissism of social media, it’s become a strange sort of taboo – a secret shame, the unsexy side of singledom. So it’s good to see playwright David Eldridge putting it centre-stage in... Read more... |
Saint George and the Dragon, National Theatre review – a modern folk tale in the OlivierThursday, 12 October 2017
Bold and fearless are adjectives that might describe playwright Rory Mullarkey as accurately as any chivalrous knight. He made his name in 2013 when, at the age of 25, his play Cannibals, part of which was in Russian, took to the main stage at the... Read more... |
'I’d never written a play as a single action before': David Eldridge on 'Beginning'Saturday, 30 September 2017
My friend, the playwright Robert Holman, says that the writing of a play is always “the product of a moment”. Of course, he’s right, but sometimes you have to pick your moment.In autumn 2015 a TV writing gig hadn’t worked out in the way that I’d... Read more... |
Jane Eyre, National Theatre review - a dynamic treatment that just missesFriday, 29 September 2017
Sometimes you go to the theatre and in the first 10 minutes are convinced that the production is going to smash it, only to find by half time that it’s not. Initial delight gives way to mild irritation, and as a member of the ticket-buying public... Read more... |
Oslo, National Theatre review - informative, gripping and movingTuesday, 19 September 2017
Documentary theatre has a poor reputation. It’s boring in form, boring to look at (all those middle-aged men in suits), and usually only tells you what you already know. It’s journalism without the immediacy of the news. But there are other ways of... Read more... |
Peter Hall: A ReminiscenceTuesday, 12 September 2017
Theatre artist, political agitator, cultural advocate: Sir Peter Hall was all these and more in a career that defies easy encapsulation beyond stating the obvious: we won’t see his like again any time soon. He helped shape my experience and... Read more... |
Follies, National Theatre review - Imelda Staunton equal first in stunning companyThursday, 07 September 2017
Of Sondheim’s half-dozen masterpieces, Follies is the one which sets the bar impossibly high, both for its four principals and in its typically unorthodox dramatic structure. The one-hit showstoppers from within a glittering ensemble come thick and... Read more... |
