My Country: A Work in Progress is an oral tapestry woven by Poet Laureate Carol Ann Duffy from knitted squares of conversation collected by National Theatre researchers from pockets of population across the country around the Brexit referendum in June 2016.
A `Sacrament of Listening’ could be the subtitle for Carol Ann Duffy and Rufus Norris’s post-Brexit project that opened three months ago at the National and which, caught now at the end of its UK tour with it’s almost white cast and similar audience, sits so oddly in a theatre normally packed with multi races and ownership.
In the wake of the political chaos of Brexit and the overhanging general election, My Country; a work in progress offered an insightful look at the divided opinions of our society. Unfortunately, it failed to deliver.
No explanation is given as to why London and the South-East are no-shows – were they even invited or, as may be inferred in the case of Londoners, just continuing their habit of never listening to the rest of the country?
Oh dear. The first play explicitly about Brexit is being staged by the National Theatre in a production that has all the acrid flavour of virtue signalling.
The National Theatre has today announced dates and further details for upcoming productions in its 2016-2017 winter season, including: Simon Godwin directs a cast including Tamsin Greig in Twelfth Night by William Shakespeare, opening in the Olivier Theatre on 22 February. Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere in the Lyttelton Theatre in March 2017, with …
Paul Roseby, Artistic Director and Chief Executive of the National Youth Theatre of Great Britain (NYT) has announced a new season of work for the company in celebration of their 60th anniversary year. It includes premiere adaptations of two Booker shortlisted novels, a new West End repertory season, and residencies at London’s Arcola and Finborough Theatres.
There’s a macabre twist to a classic fairytale in the second of a trilogy of adaptations by balletLORENT, co-produced with Northern Stage.
Following the success of Rapunzel, balletLORENT are back with a striking adaptation of the Brothers Grimm classic, Snow White.
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Everyman is about one individual’s judgment day and the harrowing evaluation of his life’s work before God. Specifically whether as new custodian of the NT Rufus Norris can deliver a crowd-pleaser for the £15 Travelex punters (yes), and if it will get less critically mauled than his debut production Light Shining in Buckinghamshire (couldn’t do worse).
THIS VERY NIGHT SHALL THY SOUL BE REQUIRED OF THEE… God is sweeping the big blank stage. We won’t know for a minute or two that Kate Duchene IS God, given she’s a weary grey-haired cleaner in a tabard. But … Continue reading →