National Theatre Archives - North West End UK

Medea – Ivan Vazov National Theatre, Sofia, Bulgaria

26Nov

By Mark DavorenNo Comments

REVIEWS

Medea – Ivan Vazov National Theatre, Sofia, Bulgaria

Cheek by Jowl do what they do best as director Declan Donnellan and designer Nick Ormerod thrust us into the heart of Euripides' great tragedy with an intelligent and immersive in-the-round production which takes the challenges of an ancient past and reimagines them in the here and now, with this production performed in Bulgarian, translated from the Greek by Dorothea Tabaskova, and with English surtitles, translated from the Greek by Lucinda Dawkins. Jason (Velislav Pavlov) is set to marry the daughter of Creon, King of Corinth (Valentin Ganev), yet the talk of the Chorus (Radena Valkanova, Joreta Nikolova, Stafania Koleva, Elena Ivanova, Nadya Keranova, Ana Papadopolu) is less about this occasion and more in concern to Jason's ex-wife, Medea (Radina Kardzhilova) who is present f...

3Oct

By Holly SewellNo Comments

London

Bacchae – National Theatre

Nima Taleghani’s Bacchae is an explicitly pro-women reading of the Euripedes’ tragedy, if one that feels slightly dated (and not because of the Ancient Greek setting). It flips the focus of the play to its Greek chorus: the women of the Bacchae narrate, while the traditionally leading Dionysos, Agave and Pentheus become funnier, more ridiculous and more pitiable characters. The chorus of Bacchae is led by Vida, brought to gritty and sparkling life by Clare Perkins. Dionysos’ foster mother, she guides them through the mountains to arrive at Thebes, where they plan to liberate every woman from patriarchy, join their cult, and drink, suck and fuck to her heart’s desire. Indhu Rubasingham’s production and Taleghani’s script are both undeniably fun. The atmosphere in the Olivier is joyful...

9Apr

By Hannah EsnoufNo Comments

North West

War Horse – Liverpool Empire

When a National Theatre production goes on tour, audiences expect a high calibre performance. That expectation increases two-fold when a production has such a celebratory history like War Horse has. Due to its longstanding repertoire, audiences know what to expect when they see this show; the puppets, the story, the wartime setting. However, one only feels the true essence of the performance when it is seen it live. Descriptions won’t do the creative work justice, but one word to describe this production: magic. Considering the tour after tour it has been through, this cast held that sense of first-time performance quality that this show needs to succeed. Like so many reviewers before me, I thought the puppetry was out of this world. Each performer, led expertly by Tom Sturgess as...

21Mar

By Maani WayNo Comments

London

Dear England – National Theatre

Dear England, written by James Graham, tells the story of the ‘New’ England football team and centres on the origin story of Gareth Southgate as Manager of the England team between 2016 and 2024. Gareth is determined to bring life and heart back to the squad and we are immersed in his journey, striving for solidarity and a better England. The lighting, sound and projection work of this production is exceptional, as is the set by Es Devlin. As the audience enters, they see a circular stage with a semi-circle above it lit up, representing a football stadium. There is a low hum of the crowd that can be heard which builds anticipation. The semi-circle becomes a space for powerful projection which aids the progression of the show. The revolving stage is used throughout the performance, never...

12Mar

By Peter KinnockNo Comments

West Midlands

War Horse – Wolverhampton Grand

Galloping across the country like the noble steed it is, “War Horse” stops off momentarily at the Grand Theatre for some water and hay staying long enough to regale us once more with the stunning and breathtaking tale it has been sharing since it first staggered out of its stable back in 2007. Though initially a book by Michael Morpurgo it was playwright Nick Stafford who trained and groomed it for success with this adaptation at the National Theatre. Handspring Puppet Company have transcended their art and produced creatures which are beyond anything we've before seen - they live, they breathe, they gallop. I defy anyone to see the work and not come away thoroughly convinced they have been amongst real animals. It’s uncanny. You can almost smell them. The image of Joey is now iconic ha...

21Dec

By Maani WayNo Comments

London

Ballet Shoes – National Theatre

Based on the well-loved novel by Noel Streatfeild, Ballet Shoes is the heartwarming story of three orphans who, in twists of fate, find themselves as sisters with the unlikely but chosen surname of “Fossil”. Pauline, Petrova and Posy make a vow to put their name in the history books and make a living to support their unconventional but loving family. Before we meet the Fossils, we are told of Sylvia (Pearl Mackie), who finds herself orphaned and taken to live with her only living relative, Great Uncle Matthew (Philip Labey), or more affectionately known as “GUM”. GUM is a collector of fossils and a devoted geologist, who adventures around the world looking for the next gem. The three treasures he happens to bring home are the three orphan sisters, much to the dismay of Sylvia’s Nana (Je...

20Nov

By Hannah EsnoufNo Comments

North West

An Inspector Calls – Liverpool Empire

With the size and grandeur of the Empire stage, any play has a feat to reach the farthest eyes and ears in the audience. Especially a play that has such a wide and respecting reputation, not to mention a sell-out run to precede it. I didn't watch that initial tour of this production, so I have no comparison. That said, I was keen to see the calibre of the National Theatre re-produced, albeit with a hint of apprehension as to whether it would feel big enough for a space so different to the intimate Littleton. However, sat way back in the stalls I was pleased to feel so much life from the distant stage. The characters were bold and worked very hard to keep us in that world of tailcoats and silk gloves. Sheila Birling (Leona Allan) had humility, and a subtlety needed to counteract Mr an...

1Aug

By Dave SmithNo Comments

London

The Grapes Of Wrath – National Theatre

For a novel written almost 100 years ago, the parallels with today are striking. A family of overcrowded refugees trying to make their way to safety, to employment and a home. Yet along the way people won’t even recognise them as human and are happy to cheat them, underpay them and generally take advantage of them. The systemic exploitation of the desperate hasn’t changed from the 1930s until today. Inevitably adaptations sacrifice depth for brevity. Frank Galati’s 1990 adaptation making its London debut under director Carrie Cracknell suffers from this, particularly in character development leading to less impact when some characters don’t make it to the end of the long drive. We are told about Tom’s great relationship with his grandpa but spend so little time in it that it does n...

24Jul

By Kira DanielsNo Comments

London

The Hot Wing King – National Theatre

Directed by Roy Alexander Weise, Katori Hall’s Pulitzer Prize winning comedy makes its London debut in the relatively modest Dorfman Theatre. Set in Memphis, Tennessee and playing out in the interior of a particularly well-endowed suburban home expertly designed for the stage by Rajha Shakiry, this is no minimalistic kitchen sink drama. With running water coming from the taps, steam rising from the pots, and marinade dripping from big wooden stirring spoons, this is a theatrical experience with all the trimmings. Head chef and hopeful hot wing competition champion, Cordell (Kadiff Kirwan), plates up scrumptious chicken and sizzling drama in his boyfriend Dwayne’s (Simon-Anthony Rhoden) illustriously decorated middle-class kitchen. Circumnavigating the colossal counter island where Co...

20Feb

By Eleanor HallNo Comments

London

Dear Octopus – National Theatre

This was a tender play about family dynamics which takes its title from a speech in the second act that praises the family unit as a ‘dear octopus from whose tentacles we never quite escape’. On the eve of World War Two, we bear witness to the reunion of the Randolph family, which forces them and their servants to confront the elements of romance, hatred, jealousy and shame that underscore their interactions. I enjoyed the wit that laced through the piece, as is characteristic of Dodie Smith’s writing. This was present in the conversation of the family quarrels, but also in repeated motifs, i.e. the fact that each character is aware of Fenny’s love for Nicholas, which added a comical touch to the action. A primary issue was the play’s dated narrative; for instance, the reason for Cynthi...