The National Theatre really did save lockdown and made us appreciate our phenomenal creative industries, but they may also have inadvertently pointed the way for the future as surely as National Theatre Live did in 2009.
Theatre photography is one of the most important ways to promote a new production and simultaneously one of the elements audiences – and probably most creatives – actively think least about.
To take a play as epic in scale as Coriolanus and find a natural home within the intimacy of London’s Donmar Warehouse takes a skill and lightness of touch that is not only rare but all so often missed.
There are some staggering contemporary references to draw from this staging of a lesser-known Shakespeare, starring Tom Hiddleston.
It is not often that one reviews a play one saw six years ago, but with the forthcoming National Theatre At Home streaming of the Donmar Warehouse production of Coriolanus, right now seems a strangely appropriate time to recall one of the best nights of theatre of my life.
The National Theatre has announced its third tranche of archive shows that will be streamed every Thursday at 7pm BST via its YouTube channel as part of lockdown initiative National Theatre at Home.
Here is a snapshot of my favourite theatre from the past 10 years, the plays that stand out most in my memory, the ones I talk about if people ask.
Warheads, a new play about PTSD, features its co-author on stage in a powerful production which is basically a medical case study.
As it’s the first of the month, we’re taking a moment to remind ourselves of the most popular contributions from our 20+ syndicate Mates bloggers from the month just closed. What were the reviews and other blogs that got readers clicking most? Any surprises? Our Top 25 Mates Blogs from November 2017 are listed below with summaries and links to read more.
The evening’s star performance comes from Haydn Gwynne who brings a strength and elegance to Volumnia. Playing the ever loving yet overbearing mother of Coriolanus, she dreams of success and glory for her son.
Angus Jackson bookends the Royal Shakespeare Company’s Rome season, his traditional dress Julius Caesar having opened it he now caps it off with a modern set Coriolanus.
Coriolanus may not be the most frequently staged of Shakespeare’s political Roman dramas although it nearly always gets included when a series of them are run together as here with the latest RSC season, under the banner title of Rome MMXVII.
Coriolanus doesn’t often hit the modern stage: its plot, a hymn to the necessary evil of educated patrician privilege in order to provide for the politically fickle, unthinking plebeian multitude, doesn’t sit at all well with modern political correctness.
The Royal Shakespeare Company’s Rome MMXVII Season of four Shakespeare plays will transfer to London’s Barbican Theatre from this November, straight from their run at the Royal Shakespeare Theatre in Stratford-upon-Avon.
Royal Shakespeare Company Artistic Director Gregory Doran today announced the company’s winter 2017 season, including the world premiere of Imperium, an epic, two-part page-to-stage adaptation of Robert Harris‘ best-selling novels about Roman politician Cicero, adapted by Wolf Hall‘s Mike Poulton and directed by Doran, and the West End transfer of Helen Edmundson‘s new play Queen Anne, starring Romola Garai and Emma …