Jessie Buckley is astonishing as the National Theatre’s Romeo and Juliet makes the jump from stage to screen to extraordinary effect.
National Theatre and Sky Arts’ hybrid theatre and film production of Romeo & Juliet has been a fascinating experiment resulting in a smart, interesting and entirely collaborative piece of art.
Or Cleopatra and Antony as it turns out. Ralph Fiennes is plenty good in Simon Godwin’s modern-dress production of Antony & Cleopatra for the National Theatre, but Sophie Okonedo is sit-up, shut-up, stand-up amazing.
At three and a half hours all in Antony and Cleopatra is a long haul, but with Fiennes and Okonedo making Shakespeare’s verse sing, there are moments here to be savoured.
This new stage version of Harold & Maude says more about modern attitudes to ageing, about feminism, migration and seizing opportunities than the current slew of angry Fringe diatribes. And it says it more elegantly.
When told well, coming of age stories are very often a reminder of the fragility and beauty of life, inspiring a carpe diem attitude tempered with immense gratitude. That the ‘Harold and Maude effect’ delivers this message completely liberated of any subtleties is a shining beacon of hope for humanity in otherwise trying times.