The main reason for the anxiety about the form of Norris' tenure seems to be his Christmas musical which is being critically and publicly lampooned. Damon Albarn's and Moira Buffini's updated adaptation of Lewis Carrol's Alice in Wonderland certainly is a mess. The exceptional concept is demolished by a preposterous book from Moira Buffini ('now I'm not alone; like a nail all ingrown' is actually a lyric in this musical). Damon Albarn's music is high concept but lacks a memorable melody which is an important thing for a family musical. The video design takes away from the realism of normal life and the game graphics would mean that wonder.land would never be used in the modern age. Furthermore, there are extremely irritating performances, not least by Hal Fowler whose M.C needs to be reined in to stop being so grating. But for all of this shows grave faults, it provides a great few hours of entertainment. If you don't take anything seriously, you can enjoy the ridiculous child who throws up for no reason and seems to only exist just to cram another issue in. You can also appreciate some exceptional performances. Lois Chimimba and Carly Bawden play the real and virtual Alice with personality and charm, especially Bawden as I thought I would spend her time on stage wondering how Rosalie Craig would have done it, so the fact that I didn't is a testament to her performance. Anna Francolini brings her formidable skill to the queen of spades like Mrs Manxome, delivering her opening number with fierce power in a 'model of a modern major general' style song and is generally an exceptional Disney villain, being bad with no real threat which suits the production well. Overall, whilst this show is almost a total failure, it is fabulously enjoyable to watch.
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This years show for young children at the National transforms Jon Klassen's popular story into a fun hours-worth of excitement. Wils Wilson directs this rather quaint and enjoyable production in which Marek Larwood's bear tries to find his hat which has been stolen by Steven Webb's rabbit. Natalie Klamar, Peter Lawman and Naana Agyei-Ampadu play an assortment of animals and shrubbery during this bears journey to find his hat. Fly Davis' design creates an inviting, living room setup where the children could play and interact with cast members before the show. Sadness and tragedy is shown quite candidly here, with a surprisingly vivid death which I initially thought would upset the young audience yet they handled it well with no one seeming upset. Arthur Darvill's music is jolly and upbeat whilst Joel Horwood's book is fun both for children and adults. Performances, as expected, are excellent, especially Larwood who tackled tricky questions from some inquisitive children well. This is a charming production that takes it's audience seriously and, as a result, is much better for it.
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Here We Go has attracted many negative reviews mainly due to it's final scene which is approximately 20 minutes of a man being dressed and undressed. It's true that this scene is excruciatingly painful and torture to watch. But that is sort of the point. Here we go, is a 45 minute examination of death. The first scene looks at people commenting on a man's life at a funeral, with interjections on their own death which highlights everyone's mortality. The second scene shows a dead man contemplating on which afterlife he wants, with the exiting imagery conjured directly contrasting with the painful final scene which shows the mundanity and pain before death. Churchill doesn't explain death here or even tread new ground on the subject. Instead, she plays with form by fragmenting familiar situations so that they are faux-natural, creating an upsetting and moving art installation. Dominic Cooke's production is minimalist and as fragmented as the form which demonstrates our flaky and incomplete understanding of the subject. Patrick Godfrey gives a matter-of-fact performance as the Old Man, showing no sentimentality. The rest of the ensemble give partly comic, partly poignant performances as onlookers at the funeral and highlight the need for us to live in the moment and the temporary nature of life. This is a powerful piece of theatre that deserves a greater run in a building that needs more alternative theatrical experiences such as this.
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Jane Eyre makes 3 and a half hours feel like 30 minutes in perhaps the most powerful pieces of theatre in 2015. Sally Cookson and the cast have devised this show, forming Charlotte Bronte's story through improvisation. This gives the novel new life and appears to generate sublime performances from the best ensemble of the year. Far from the cushy chic-flick with winsome staring into the distance, the company have created something that demonstrates the tough nature of Jane who fights to be free and for justice. Michael Vale's set further defies the expectation of an adaptation of Jane Eyre. Described by many as a playground, it captures an audiences imagination and,as well as being able to cope with the multiple scene changes, it highlights the adventurous and exiting journey Jane has undertaken. Benji Bower's fantastic music choices and arrangements further the pain felt by Melanie Marshall's Bertha Mason, whose voice is divine and full of burning hatred and pain. Madeleine Worral is a defiant, strong and brilliant Jane, Felix Hayes is a mysterious and intruiging Rochester, whilst the rest of the ensemble cast are also extraordinary as Jane's conscience and the multiple roles each actor takes on. With a national tour on the cards, this is a show which is essential for everyone to experience.
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British politics appears to be undergoing a great shift, with the Labour party moving from a centre party indistinguishable to the Conservatives to a party of idealism and opposition posing radical left-leaning policies that spark and fires debate. This is what Henry Trebell and the National Theatre want to do in this new production of Harley Granville Barker's Waste and, whilst it doesn't quite work out, it is an admirable attempt. Roger Michell's production can be seen as a dry period piece that never takes off with no real mark being made. However, if you can get through what is admittedly a tough slog to the Fourth Act, you get a pay off with a stunning final image and an interesting investigation into the role of idealism in politics. Trebell is a man who wants reform and believes he can change the country and, even with support, he is crushed by his personal failings. From pigs to 'plebs', the issue of the personal invading the political is a relevant issue and Charles Edward's frankly unlikable Henry bears to mind both the idealism of Corbyn to the personality defects of the Conservative cabinet. Edward's manages this line well, keeping the audience from completely despising the man through his evident desire for change, meaning that the tragic finale has some pain to it. Sylvestra Le Touzel is a tough yet sad and ultimately dependent sister Frances whilst Olivia WIlliams is a outwardly strong yet emotionally vulnerable Amy. Hildegard Bechtler's design, like the ethnicity of the company, is too white and could do with some diversity in order for the audience to engage further with the drama. If you can withstand the dry and often nauseating language in this piece, you are likely to be rewarded in a play that, whilst entirely tame, still questions and addresses the place of ideas and personality in this political landscape.
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Firstly, it is a weird experience to sit in a theatre and, without expecting it, to hear a voice from your childhood. This is exactly what happened when I sat in the Dorfman to see an Evening at the Talk House. When an old man starts speaking and suddenly Rex from Toy Story is talking about how he wasn't a great actor, you become slightly scared, especially when there is no mention of the part in the programme (which, like most Dorfman programmes, is a pathetic excuse of a programme and is a rip-off at £3). However, it is not Rex but in fact Wallace Shawn in his own play which has premiered at the Dorfman theatre. It follows the character of Robert, played by Josh Hamilton, who meets with the crew of an old play at an old haunt called 'The Talk House'. Everything feels amiable enough until, piece by piece you start to understand the world they're in and the space and the play becomes more and more claustrophobic. The only production comparable to Ian Rickson's staging of Shawn's play is the hit of Hangmen at the Royal Court earlier in the year. Both McDonagh and Shawn have a similar aesthetic and both achieve the effect of making an audience feels incredibly uncomfortable. Shawn's play seems to be a critical standpoint on the role the privileged have in the decision making in the West. The characters in this play are very happy to sit around and discuss morality. Some are even happy to make decisions that make a large impact on people's lives. But it is left to those lower down the hierarchy to carry out the deeds. It addresses issues of scapegoating and it is incredibly powerful in the light of the recent atrocities in France. The Quay Brothers have created a set that alludes to the past and looks to the future whilst Neil Austin's lighting design creates a dim and grimy effect of a club fallen on hard times. Hamilton gives a wonderfully engaging opening monologue about the theatre at the beginning, playing almost a Nick Carraway- style role in the play, and his unreliability is fascinating to watch throughout. Performances are good across the board, notably Shawn as the not-quite-defeated Dick and Sinead Matthews as the mysterious waitress. This is an intriguing piece of theatre that is uncomfortable yet compelling to watch.
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My English teacher tells our class that 'it is better to write a lot about a little than a little about a lot.' This, for me, is the downfall of Ben Powers adaptation of three D. H. Lawrence. Perhaps it would be truer to say that Powers has constructed a play that investigates a lot about a lot. Running at three hours, the plays about families in mining village Eastwood never really merge together and remain three separate stories which need three separate productions to make them interesting rather than long-winded and tiresome. Despite this, Marianne Elliot has staged it in a way that tries to engage and emphasise the brilliance of Lawrence. Bunny Christie's set neatly conveys the background of mining with the dirt, grime and darkness of the show with each house, whilst similar, has their distinctions to show the family's place in the social hierarchy. For me, the main family which the piece concentrates on is the Gascgoine family yet the Holroyds and Lamberts get a pretty even share of the running time. It centres around the role of women in mining towns and their role extremely well, putting Lousie Brealey, Anne- Marrie Duff and Julia Ford in the main roles, each with their own struggles which each actor pulls off with feeling and emotional depth. The male characters are mostly unsympathetic characters and, even when they show feeling, their thoughts are usually driven by egoistic and physical means which may be an unfair representation of society but serves the play very well. This is a struggle to sit through and not entirely satisfying but undoubtedly intelligent and interesting interpretation of Lawrence's plays.
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There is no better way to see Shakespeare than at the National on the Olivier stage. As You Like It is a prime example of this. Prolly Findlay has created a truly definitive production of this play that truly sets the standard for modern adaptations of Shakespeare. The duke's court is some sort of environmental office which is brightly coloured and busy. Here, Orlando is a cleaner who beats the wrestler in a wrestling match held inside the office. The change from office to Arden is one of the most extraordinary things you will ever see in a theatre. Calling it awe-inspiring sells it short. Lizzie Clachan shows off the amazing abilities of the Olivier whilst also not stealing the limelight from Shakespeare's text. Orlando Gough's music is disjointed yet oddly catchy, adding to the atmosphere which the company helps by creating woodland noises and becoming sheep in one quirky sketch. Performances all round are as good as you get. Rosalie Craig makes the transition from musicals to straight theatre magnificently, maintaining her unique charisma in an utterly magnetic, compelling and strong performance as Rosalind whilst Patsy Ferran is as delightful as always in the part of Celia. Joe Bannister makes the most of an unforgiving and blandly written Orlando, injecting life into the part. Mark Benton is a jaunty Touchstone whilst Paul Chahidi brings his brilliant comic timing to the part of Jaques, whilst at the same time making the part oddly moving. This is a far more thought through and entertaining production of Shakespeare's comedy than the rather lame Globe production earlier this year, and is sure to last long in the mind.
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As you walk into the temporary theatre, you are transported to a dystopian future. The lights flicker; the drone vibrates to your soul and the actors hang around each corner of the auditorium to create an unsettling atmosphere. Alistair McDowall has created not only a frightening piece but a psychologically disturbing and thrilling one. The humour is macabre, bathetic and gross (a security guards dream to cover Manchester in his ejaculate was a favourite joke of mine) whilst the character development is some of the best I've seen. You see the final scenes for each character at the beginning of the play and it is only as the information trickles down that you realise the shocking end of each character. This sort of theatre is vital in order to get a new, younger audience interested in intelligent theatre with an aesthetic from designer Georgina Lowe that captures the grime of horror films combined the slick and simple nature of an in-the-round space. The drain in the middle provides and effective death scene and an interesting metaphor for the unknown nature of Pomona. Ned Bennet directs a stunning production which bridges scenes with movement and darkness. The ensemble cast are all phenomenal from Guy Rhys' crazy owner of Manchester to Rebecca Humphries' as the emotionally unstable Fay. It addresses the seriously inappropriate relationship society has to porn and to sex workers in what feels like the most professional piece of theatre that I have seen in this fresh and exiting space.
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This is finally the National Theatre at full strength again. It's collaboration with Headlong has created a masterpiece in theatrical spectacle thanks to one person. People, Places and Things will be the play that will catapult Denise Gough into the public eye in her indescribable performance as a drug addict trying to get clean. Her curtain call reminded me of Gillian Anderson at the end of Streetcar; with a face of pure exhaustion and appreciation for the standing ovation that she more than deserved. She is on stage at every moment in the play in a role that uses tiny changes in accent to huge ranges in emotion. Her part requires her to have the audience on her side whilst she is being the most awful human being and perform on a traverse space whilst also moving to Bunny Chrisite's intricate designs and Jeremy Herrin's precise direction. There is one particular moment where I felt so connected with her that I was muttering 'don't do it' under my breath in perhaps the simplest yet most tense moment of theatre possible. A mixture of the clinical design and the clever direction adds yet more life to Duncan Macmillan's text. The post-modern attitude on theatre almost became pretentious but Gough's real portrayal of her character kept me from feeling annoyed at the jokes about Hedda Gabler, The Seagull and Titus Andronicus. The ensemble cast supports Gough wonderfully, especially Barbara Marten, Nathaniel Martello-White and Kevin McMonagie who help maintain a sense of realism. I don't think the National should be worried about another award free year this time around with this genius piece of inventive theatre.
I seem to be one of the few who have never heard of Timberlake Wertenbaker's play, I was surprised to learn after seeing the play in the Olivier that it was originally written for a smaller space and fro character doubling. Nadia Fall's production captures the vast space and desolation in this far-off place that these people have been shipped off to. McKintosh has designed something simple yet effective that makes use of the famous drum revolve to show the cramped conditions of a ship and to change the scenes. Jason Hughes leads a strong cast that shows the therapeutic qualities of theatre that could go hand in hand with Farinelli and the King. It uses these dire circumstances in this broken society to highlight the fact that, whilst theatre and the arts can't transform a person, it can change them to take time to forget their problems and focus on someone-else's life. The horror isn't diluted but the celebratory nature of the play doesn't come across as pretentious. Cerys Matthews' music is wonderfully atmospheric yet contributes towards a slightly longer running time than is expected, even if you don't notice the time pass. This is a funny, uplifting but also brutal play in a good production which captures the scale of the Australian outback.
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On the surface of things, Three Days in the Country is an amusing period piece yet Patrick Marber's adaptation of Turgenev's classic A Month in the Country goes far deeper than that. It explores the darker side of love and marriage and Marber, as well as bringing out the laugh out loud comedy in Turgenev, he also brings out the tragedy in the piece and explores the complexities of human relationships. The open stage design from Mark Thompson highlights the public and exposed nature of country life, letting the audience see the mechanics of this operation, with the pianist and prop tables visible and actors sitting on the edge, observing the action. A few days ago, I saw several 'enthusiastic' Doctor Who fans in full costume by stage door which started to worry me that this was going to be a starry production relying on Gatiss and Simm too heavily. However, despite one slightly odd Who nod, it isn't noticably a 'star-studded' production like Man and Superman and, whilst they put in good performances, neither of them dominate the stage. Rather it is Amanda Drew who is the star, playing Natalya with strength and someone who is losing her patience with the stifling nature of country life whilst Belyaev is played by Royce Pierreson with an appearance of control even if in reality he has no control whatsoever. Patrick Marber has made a truly triumphant return to the National with what I think is the greatest of his three projects currently on stage in a well judged and beguiling production.
The Temporary theatre provides the National with pieces that are often experimental and slightly odd. Therefore Tim Crouch's experiment naturally fits in this space. The concept is that Tim performs this play with an actor who has neither read nor seen the play before stepping on the stage. For the last night, Samuel West was this actor who played the Father. This play really helps to show West's talent that he can communicate deep emotions of loss and pain when he is repeating words as he hears them through his headphones. Crouch smoothed the process over as much as he can but you still leave slightly unsatisfied with the performance as a piece of art. Despite this, this concept of the hypnotist as a manipulator and how that relates to both the play and the exercise is fascinating. The play itself could be transformed into a fantastic piece but is diluted too much by the gimmick and classroom exercise feel.
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From the title, you know that this play isn't going to be your typical National Theatre production. Certainly the language in the piece, that brings to mind The Thick of It, lives up to it's provocative title. Despite this, Stephen Andy Guirgis' play has more subtlety than one might imagine. The graphic and imaginative use of expletives are used by the characters to disguise their vulnerabilities and addictions, creating moments that are beautiful rather than grotesque. I am also thankful for the lack of a gunshot which could be justifiable directorial decision to make, Rubasingham's production is something that lingers in the mind, which is helped by the lack of finality that a gunshot brings. The play is also extremely funny, although the comedy is secondary to and as a result of the pathos felt towards Jackie, played with conviction by Ricardo Chavira. The rest of the cast are excellent too, in a fast paced performance enabled by the quick scene changes that Guirgis writes. This normally bugs me but the efficient and lively design from Robert Jones that helps to portray the vibrant culture of people who are often ignored by our culture. The whole evening has restored my faith in the National and in Norris in programming interesting and diverse work executed well by some of the best cast and creatives around.
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Patrick Marber writes human life well. With this comeback play after a long hiatus, Marber's love letter to football with a piece about a young footballer, the manager and the kitman of a non-league football club. A result of the writers relationship with Lewes FC, the first half shows his love for the game. The speech at the beginning from Daniel Mays has a poetry to it when bemoaning the state of the pitch ('you can play... but you can't play...'). There are some parts of dialogue which evoked memories of my time at a football club, especially when it came to faking it slightly. The first half is truly wonderful and it flies by. The second half is when the beauty of the game is corrupted by power and money and is heartbreaking to sit through. The final moments of the play are painful to watch and is a perfect end to this play. Yes, the second half starts to drag slightly and could do with more than a few cuts, it made me forget my hatred for the space it was playing in and really feel for the characters. This is perhaps due to the extraordinary performances which brings to life the multi- dimensional characters Marber has written. Peter Wright is inviting and easy to listen to whilst Mays is, in contrast, harsh and, whilst comic, also dark. Calvin Demba is also wonderful as the young prospect Jordan after a disastrous previous production at the Royal Court. Ian Rickson's direction handles makes the lack of a full team of actors not seem strange whilst Ward's design captures the grime and harsh nature of non-league football. Whilst slightly long, this piece is magnetic and captures a different side to the beautiful game and tells it theatrically in a way that both makes you love and hate the sport.
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What on earth did I just see?!! This new piece at the Temporary Theatre couldn't be more different to the last piece; a subdue and subtle show on zero hours contracts. This production is far from subtle, dealing with pornography like a sledgehammer to the face. It is safe to say that RashDash artistic directors and performers Helen Goalen and Abbie Greenland are pretty anti porn. They convey this message pretty strongly through a series of sketches featuring the pair and one of the ensemble cast in situations ranging from tying up the queen to shooting a teenager. Some parts are pretty abstract whilst others are more direct. It is certainly different, even if it isn't too much else. The most thought provoking moment in it comes at the beginning and the rest is made up almost entirely of sequences milked for every last drop of meaning or laughs, whatever the audience wants to take it as. It also features cans of "Value Sex" which is brought on at certain points which I think is supposed to mean something but can't quite work out what. The general gist is sex is good, porn is bad. If you want to hear that message told with loud music, a dancing queen and exhausting dance, this is the play for you. If not, you could find yourself in for a very tiring and confusing evening.
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To me, Renaissance Comedy seems the biggest oxymoron imaginable. Theatre companies often deflect to slapstick to bleed some humour out of a largely humourless text. However, there is no other way to describe the experience of the National's Beaux Stratagem than as thoroughly entertaining. Samuel Barnett, Geoffrey Streatfield lead a wonderful cast as the Beaux who search to retain their post wealth by marrying rich women, portrayed delightfully by Susannah Fielding and Pippa Bennett- Warner. These roles are played extremely well and doesn't feel overplayed. This is true to the whole production. It looks to the text for humour rather than masking it with something that seems artificial. Lizzie Clachan's set is quite simple yet beautiful and gives the Olivier an unaturaly homely and comfortable feeling, in stark contrast from normal programming in this space. Pierce Quigley, as always, is eye wateringly funny as the servant Scrub in a dry and unexploited presentation of this well written role. This toned down production is thanks to Godwin's great direction whilst Michael Bruce provides some perfect music and songs to set this quaint atmosphere. The programme also notes as Patrick Marber assisting Godwin with the dramaturgy. I still have no idea what a dramaturg is but I'm sure he did a very good job at it. The play is not the typical Restoration Comedy which does both the cast and the audience a service in providing a great comedic and intelligent event.
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Rufus Norris has officially arrived with his first play as Artistic Director of the National. In this, Norris sends us a fresh reminder of our responsibility for each other with an adaptation by Carol Ann Duffy of the famous morality play. Her adaptation is mostly successful and, whilst her references to modern culture is often misjudged and awkward (like a grandparent saying 'word up to ma mandem'), when she writes on the bigger picture on subjects such as God and mortality, the text feels as juicy as Shakespeare. In a this production, Everyman is a high flying businessman who likes to enjoy himself with sex, drugs and drink. The cocaine scene feels very theatrical and doesn't have the gritty effect it should have perhaps due to De Frutos' wonderful yet stylized movement that perhaps holds back the message from getting across to the audience. Despite this, the scenes that have a large scale like the party or the storm provides a great atmosphere to the Olivier and, whilst the more intimate scenes feel lost in the space, the whole piece still maintains the power. Chiwetel Ejiofor gives an exhausting yet fantastic portrayal of Everyman and is backed by a terrific ensemble. I am not totally convinced by this flawed production but it still packs a punch which is impressive to see.
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After productions such as 'Who Cares' and 'The Vote', the National's contribution to the debate in the wake of the election is pretty middle of the road. True, Devlins set is, as always, impressive and imposing. The acting too is decent, although no one stands out. The play itself is the problem. Churchill's play is dry and stodgy with little to connect with. I think it is intended for us to identify human endeavour throughout the ages against the ruling classes to strike a chord in the modern day. Yet, all that is portrayed by Lyndsey Turner's direction keeps it to just a retelling of history despite Soutra Gilmour attempting to blur the lines at the end with her costume designs. This production needs to look to Dara to see how historical stories can be told in a way that connects emotionally with the audience. The Putney Debate scene should have been an exciting climax to the half but in fact was dreary and dull. It should be a play about revolution but instead is about people talking about revolution. Even actors that I love like Joshua James, Ashley McGuire and Steffan Rhodri can't salvage a play that ultimately fails in providing decent theatre. I love the National, but this is a serious misstep which won't help Rufus Norris in his first season.
Rarely have I been left feeling so uncomfortable by a piece of theatre. The National is hosting the Yard's play about zero hours contracts which interweave 5 characters and their stories around an extraordinarily inhumane job, much as each character has to weave their life around in order to fit doing extra hours at the same rate or having payment be moved five days. This production is raw and edgy with all the rough edges left on. Not all the dialogue was heard as one cast member is very softly spoken which, whilst it is obviously a dramatic device, it means the piece doesn't always have the effect it hoped for. Apart from this, it is perfect programming from the National and shows that it isn't scared of potentially difficult to sell shows that address issues that are rarely talked about in theatre, let alone in such a gritty way.
