Jessie Buckley is astonishing as the National Theatre’s Romeo and Juliet makes the jump from stage to screen to extraordinary effect.
A first-look image has today been released for the National Theatre’s Romeo & Juliet, a feature film for broadcast on Sky Arts and PBS this April.
Light Falls is too Northern. It’s far, far too Northern. The grit-spreaders have truly been out in force, and it’s excruciating to swallow so very many clichés in one dose.
Lucy Prebble’s latest tells the story of the murder of Alexander Litvinenko in A Very Expensive Poison, but prefers buffoonery over analysis.
For this third time in the role we are told that Ian McKellen deliberately chose to play it in the intimacy of Chichester’s Minerva last year; here in the West End a reconfiguring of the Duke of York’s maintains much of that atmosphere.
When you see around 200 different shows, you’re bound to come across a few duff ones, but I’m pleased to say that nearly all of the bad shows I saw can be found in this post.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
Joe Hill-Gibbins’ idiosyncratic 2015 take on Measure for Measure filled the Young Vic with inflatable sex dolls so it should come as little surprise that for his A Midsummer Night’s Dream, he and designer Johannes Schütz have transformed the stage into a muddy paddock.
Revival of Sean O’Casey’s modern classic shows its continued relevance, but is a bit meticulously sombre.