National Theatre
Jane Edwardes
Plays about the theatre tend to go down well with audiences. Why wouldn’t they? The danger is that they become too cosy as actors and audience smugly agree on the transcendence of the artform. Jack Thorne’s The Motive and the Cue comes perilously close to falling into that trap, but, in the end, its wider preoccupations with old age, change, and the perils of the new, make it a rewarding and sometimes even challenging evening.You have to admire Thorne’s versatility. Last week, Stranger Things – The First Shadow opened, for which he contributed to the original story. While that show attempts Read more ...
Helen Hawkins
A sun deck with seven pale-green padded loungers is the latest setting for the latest National Theatre premiere from American playwright Annie Baker to people in her inimitable way. In her hands this banal space is as dramatically charged as any windowless Beckett cell. The set is lit to depict different stages of the day, from bright golden sunlight to crepuscular gloom. Time elapsing is announced by one of the characters: “22 minutes”, “25 hours”, and so on. Over five days, the chairs will be occupied by groupings of five women and a solitary man, the women in an assortment of Read more ...
Demetrios Matheou
Rebecca Frecknall opened 2023 with a youthful, visceral, and brutal Streetcar Named Desire at the Almeida; she ends it with another startlingly vigorous adaptation, again of a play in which women are abused by men both physically and psychologically. Meanwhile, Cabaret, her West End revival of which is now entering its third year and is also headed for Broadway, is set in Nazi Germany. Frecknall is becoming a supreme exponent of dazzling darkness. Ultimately, her National Theatre debut with The House of Bernarda Alba doesn’t hit the solar plexus in the same way Read more ...
Matt Wolf
The National Theatre these days seems to be going from hit-to-hit, with transfers aplenty and full houses at home. And there's every reason to expect that this fizzy adaptation of Roald Dahl's 1983 creep-out, The Witches, has the West End and further in its sights.The first major musical drawn from the singular mind of Dahl since the runaway success that was (and is) Matilda in 2010, the show couples musical theatre newbies (the Olivier winning director-writer team of Lyndsey Turner and Lucy Kirkwood) with dab hands in the field like composer and co-lyricist Dave Malloy and the veteran Read more ...
Helen Hawkins
How to describe Alexander Zeldin’s latest, The Confessions? It is almost a kitchen-sink drama, but also a picaresque trawl through the life of an Australian woman that’s verging on epic, spanning most of her 80 years. And it’s stirring stuff, alternately enraging, sad and very funny. The woman is called Alice, and what we see are her adventures in the unliberated Oz of the late 20th century. As the older Alice, played by Amelda Brown, she addresses the audience directly with the house lights up, a tentative, slightly flustered woman who assures us she isn’t at all interesting. Then she Read more ...
Helen Hawkins
It was interesting, in the same week that the England football team trounced Italy 3-1 in a Euros qualifier, to see Dear England again, the National Theatre smash that has just embarked on a West End run at the Prince Edward Theatre.One of the three goals was a penalty scored by captain Harry Kane. England manager Gareth Southgate’s task of fixing the England team's woeful record on that score seems to be complete: England have overcome their fear of penalties. No England fan would be that confident, however, and James Graham’s play, among other things, spells out why. Buried under all Read more ...
aleks.sierz
It’s closing time somewhere in the East End. Nah, not the pub, but at a small local shop. Inside, Denise is banging around with some big pans, while Carly is packing up the flowers. Their business is coming to an end and they are about to hand over the keys to the next tenant.It’s also the climax of Roy Williams and Clint Dyer’s epic Death of England tetralogy, which began in early 2020, and has been one of the best new writing series recently staged at the flagship National Theatre. But while earlier episodes – Death of England, Delroy and Face to Face – featured the men, this time it’s the Read more ...
Jane Edwardes
From the moment that the blood-stained Nathuram Godse rises out of the floor of the National Theatre's Olivier stage and demands ‘What are you staring at? Have you never seen a murderer up close before?’, we are locked into a queasy, teasing relationship with the man who killed Mohandas Gandhi, the latter renowned throughout the world for his passive but effective resistance to British colonial rule in India. Returning for a second run, Indhu Rubasingham’s production has several new cast members, including Hiran Abeysekera as Godse. Playwright Anupama Chandrasekhar was the National’s first Read more ...
Helen Hawkins
One of the great wonders of Western literary history is one of the earliest, Homer’s The Odyssey, an epic poem with all the thrills and spills of an Indiana Jones outing, with added Olympians. The National’s version turned out not to be The Odyssey as we know it, though. Billed as a “new play” by Chris Bush, with music by Jim Fortune, it was the fifth instalment of a Public Acts project, following the massed efforts of four amateur groups across the country – in Stoke, Sunderland, Doncaster and Trowbridge – which performed a different section of the story each, from four Read more ...
Helen Hawkins
The shadow of Grenfell Tower has already produced Nick Kent and Richard Norton-Taylor’s dispassionately forensic but devastating documentary plays based on transcripts from the Grenfell Inquiry. Now comes a companion piece, the National’s Grenfell, a verbatim play using excerpts from the same source, but larded by Gillian Slovo into a wider account of the fire by those who were in it, to equally wrenching effect.The cast of 12 arrive in the National’s small Dorfman space and one by one introduce themselves: first by their own names, then as the main character they will play (all take on a Read more ...
Matt Wolf
"Is everything loss?" the great Oliver Ford Davies once asked on the National's Olivier stage, in the closing moment of David Hare's masterful Racing Demon. That question informs another masterful play, James Graham's Dear England, newly opened in the same space.This stirring portrait of Gareth Southgate (the remarkable Joseph Fiennes) and the England squad that he continues to lead takes the national temperature and finds it wedded to defeat; what's most remarkable is that the three-hour drama then dares to go the distance and insist upon hope because, well, what other choice have Read more ...
Jane Edwardes
Whining Donald Trump and snivelling Boris Johnson claim that they are victims of witch-hunts, although all the evidence suggests otherwise. In 1953, haunted by the iniquitous McCarthy trials that were designed to purge the US of communism, Arthur Miller turned to a real travesty, that of the Salem witch-hunt of 1692.Loosely based on an event which saw 14 women, five men and, yes, two dogs hanged, the play is an attack on the disastrous consequences when a community becomes fanatically gripped by a lie and descends into a post-truth world of false accusations, vengeance, and torture.Miller’s Read more ...