Gershwyn Eustache Jnr, Leah Harvey and Aisling Loftus lead the cast of Small Island, adapted by Helen Edmundson from Andrea Levy’s prize-winning novel, directed by Rufus Norris in the Olivier Theatre, as part of the National Theatre’s new season.
The National Theatre has announced that Meghan Markle, Duchess of Sussex has become its Royal Patron. The patronage reflects the former American TV star’s belief in using the arts to bring people from different backgrounds and communities together.
Rufus Norris has unveiled the National Theatre’s plans for 2019 and beyond. Highlights include the world premiere of Small Island adapted by Helen Edmundson from Andrea Levy’s novel, directed by Rufus Norris.
Mark Shenton rounds up the latest news, reviews, podcasts and more from London and Broadway, including Prince Harry at Hamilton and Lin-Manuel Miranda at Southwark Playhouse.
News, reviews, controversies and interviews of the week from London to Broadway, by way of Edinburgh, including the ‘banning’ of Mazz Murray from singing a song from Dreamgirls, Edinburgh venue pay rates, and a 70-year-old Broadway understudy getting the lead.
Artistic Director of the National Theatre Rufus Norris met with invited guests this week at the Theatre Royal Bath to talk about the touring production of Macbeth and his vision and passion. I was present and captured both his talk and an interview with Norris.
Macbeth at the National Theatre is a dystopian look at one of Shakespeare’s most well-known plays, ushering in a new dark age in the aftermath of civil war – Anne-Marie Duff and Nicholas Karimi truly lead the way with compelling performances.
Rory Kinnear and Anne-Marie Duff star as the Macbeths in this new production directed by Rufus Norris at the National Theatre until 23 June. But what have the critics had to say about it?
There is much to like and enjoy about this production of Macbeth, including inventive performances and strong ideas. However, Rufus Norris should probably play to his strengths as a director, which are many, and not feel he needs to transform into Nicholas Hytner as well.
If you’re a Shakespeare fan then there’s no reason why you shouldn’t go and judge Rufus Norris’ Macbeth for yourself, but if not then I wouldn’t rush along, as I don’t think this is the production to make you a fan.
The National Theatre and Young Vic co-production with Good Chance Theatre of Joe Murphy and Joe Robertson’s The Jungle will receive a West End transfer.
So, I’m sorry to say that the starry Olivier-platformed NT production of Macbeth is a dull disappointment. For me, I couldn’t find a single element that worked.
Yet somehow, I’m not quite buying it. We are used to gore and nasty things hung on trees and lots beheadings, ever since the technology for reproducing actors’ heads improved. Fine. But unlike the Hytner Othello – set in a modern army camp – or his Hamlet in a recognizable police-state, the misery-world evoked here gives no sense that there ever were nobilities to be breached by the Macbeths. It’s just chaos, and you expect no better.
Here at the National, as with many other attempts, the production’s vision lacks real purpose and fails to engage with the complex motivation of Macbeth himself, leaving him and us nowhere to go.
Now, straight off the bat, this isn’t a dig at Rufus. No, that’s not what this blog is about. Rather, it’s some comparably small suggestions that I think could bring about real meaningful change both at the NT and at other producing theatres.
Chilling in all the right places, the revival of the award-winning tour of Cabaret starring Will Young as the Emcee feels as important a piece of musical theatre as it ever did.
With the two headliners of this show – Will Young and Louise Redknapp – being bona-fide British primetime celebrities and regular tabloid fodder, its no wonder that Edinburgh turned out in force to see Cabaret, director Rufus Norris’ latest show.
After DC Moore’s flawed Common comes Mullarkey’s similarly flawed Saint George and the Dragon. Taking the myth of George, the legendary dragon slayer and rescuer of damsels in distress, the playwright wraps the folktale in the flag of our nation’s story.
National Theatre artistic director Rufus Norris announced the flagship institution’s 2018 plans at a press conference held today. Here are details of programming in the three auditoria at the NT’s South Bank home.
I’m sure I’m not alone in having gruelling flashbacks to A-level English literature when I hear Brontë’s novel mentioned, and what’s lovely about this adaptation, thanks to the minimal sets, is that it allows the audience to create the world of Jane Eyre with their imagination as they would do when reading the book.