The National Theatre, returning to performances with full capacity audiences from later this month, has announced further casting details for forthcoming productions of Larry Kramer’s The Normal Heart, original musical Hex, Moira Buffini’s new play Manor, and more.
Where Jeremy Herrin directs and Bunny Christie designs, you expect something pretty damn theatrical before After Life ends, and this we get.
The National Theatre’s staging of Under Milk Wood is far from the first time Dylan Thomas’ poem has been adapted for the stage. It’s easy to see the temptation to perform a work so packed with characters, drifting through a strange, semi-mythical setting encountering one another.
Love London Love Culture rounds up the reviews for Jack Thorne’s adaptation of Hirokazu Kore-eda’s film of the same name now playing at the National Theatre.
Under Milk Wood is a perfect piece to contemplate after a year when the shrinking worlds of lockdown made every neighbourhood a village and every one of us was connected in fate and behaviour whether we liked it or not.
Making Under Milk Wood a story within a story is a risk but one that pays off, adding a tender father-son connection that ties that multifaceted sprawl of Dylan Thomas’ story together.
The National Theatre has announced its programming until the start of next year with productions on all three South Bank stages as well as three major UK tours, two productions on Broadway, a return to cinemas, and a new feature film to be broadcast on television this autumn.
This weekly column keeps track of the shows that are coming back, or are newly being announced, as theatres start reopening from tonight (17 May) in London and at other theatres in the UK.
This weekly column keeps track of the shows that are coming back, or are newly being announced, as theatres prepare to re-open from next month onwards. It will be updated weekly until such time as it becomes a reality, and from then on will provide a weekly update to that week’s openings and future ones.
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.
Meanwhile, I want to start keeping track of the shows that are coming back, or are newly being announced, in a new feature here that will be updated weekly until such time as it becomes a reality, and from then on will provide a weekly update to that week’s openings and future ones.
The National Theatre has announces plans to reopen in June, welcoming audiences back to the South Bank for the first time since closing last December. The Olivier Theatre will reopen on 16 June 2021 with Under Milk Wood by Dylan Thomas. The Dorfman Theatre will reopen on 2 June for the first time since February 2020 with the previously announced co-production with Headlong, After Life written by Jack Thorne and directed by Jeremy Herrin.
Setting a timetable requires Johnson to be a clairvoyant, predicting the future way of a virus that, to be honest, is only really getting started. Yes, vaccines are being done fast (I got my first dose on Saturday), but lifting the lid on Pandora’s box too quickly — by setting a timetable for reopening — won’t benefit anyone’s mental health, if it simply exacerbates the virus and leads to the necessity to shut down again.
My latest ShenTens is particularly bittersweet, as we can’t actually go to any at the moment: my favourite West End theatres.
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.
The National Theatre has announced that Clint Dyer has been appointed deputy artistic director. He will work closely with Rufus Norris, director and joint chief executive, and Emily McLaughlin, director of new work, to support and shape the NT’s creative output.
ll producers going forward will build digital preservation of their productions into their business models — and a future revenue stream will be available that means that no production need die anymore when the final curtain comes down, either.
I’ve selected 20 of the things that inspired, moved, amused and delighted, which have pushed the boundaries of what it possible and continued to fly the flag for theatre in the UK.
I resolutely wasn’t doing a round up for 2020. I mean what on earth were we going to round up? This year has, with no exaggeration, broken our hearts in theatre. There’s no other way to put it. We watched our industry disappear overnight. We…