National Theatre
Privatisation is the best option for the South Bank Centre
I must have written about this subject 100 times in 30 years and I’m still having to restate the bloody…
The National Theatre’s live-streaming policy is bizarre
The National’s bizarre livestreaming service continues. On 7 May, for one week only, it released a modern-dress version of Antony…
Worth watching for the comments thread alone: NT's Twelfth Night livestream reviewed
‘Enjoy world-class theatre online for free,’ announces the National Theatre. Every Thursday at 7 p.m. a play from the archive…
The best theatre of the 21st century
Not looking great, is it? Until we all get jabbed, theatres may have to stay closed. And even the optimists…
A brilliant, unrevivable undertaking: Tom Stoppard’s Leopoldstadt reviewed
History will record Leopoldstadt as Tom Stoppard’s Schindler’s List. His brilliant tragic-comic play opens in the Jewish quarter of Vienna…
The script’s a dud: Antipodes at the Dorfman Theatre reviewed
The Antipodes, by the acclaimed dramatist Annie Baker, is set in a Hollywood writers’ room. Seven hired scribblers are brainstorming…
A 90-minute slog up to a dazzling peak: ‘Master Harold’… and the boys reviewed
Athol Fugard likes to dump his characters in settings with no dramatic thrust or tension. A prison yard is a…
Funny, short and cheap to stage, Hansard is an excellent bet for a transfer
Hansard is the debut play by actor Simon Woods, who enjoys a deep knowledge of his subject. The characters are…
A decorative pageant that would appeal to civic grandees: The Secret River reviewed
The Secret River opens in a fertile corner of New South Wales in the early 1800s. William, a cockney pauper…
The greatest actor in the world couldn’t salvage David Hare’s batty adaptation: Peer Gynt reviewed
The National Theatre’s boss, Rufus Norris, has confessed that he ‘took his eye off the ball’ when it came to…
Poetic and profound: The Starry Messenger reviewed
Kenneth Lonergan, who wrote the movie Manchester by the Sea, shapes his work from loss, disillusionment, small-mindedness, hesitation and superficiality,…
A magnificent work of art (but don’t worry if you miss the first half-hour): Small Island reviewed
Small Island, based on Andrea Levy’s novel about Jamaican migrants in Britain, feels like the world’s longest book review. We…
Has Bruce Norris bitten off more than he can chew?
Bruce Norris is a firefighter among dramatists. He runs towards danger while others sprint in the other direction. His Pulitzer-winning…
A winning hoax: When We Have Sufficiently Tortured Each Other reviewed
The NT’s new play is an update of Pamela, a sexploitation novel by Samuel Richardson. It opens with Stephen Dillane…
What a relief we can finally admit Jimmy Porter was a pain in the neck
Gary Raymond must have been wondering if it was the end of a promising career — curtains. He was starring…
A horror show that appeals to the intellect but not the gut: The Tell-Tale Heart reviewed
The Tell-Tale Heart is based on a teeny-weeny short story by Edgar Allan Poe. The full text appears in the…
![David Schwimmer has produced a new film of Alexander Zeldin’s play LOVE for the BBC. [Photo: Jose M. Osorio/Chicago Tribune/TNS via Getty Images]](https://www.spectator.com.au/wp-content/uploads/2018/12/8Declead.jpg?w=410&h=275&crop=1)
David Schwimmer on his new BBC film
There is very little art about modern poverty, because who wants to know? It is barely acknowledged, unless there is…
Women should boycott David Hare’s slanderous new play: I’m Not Running reviewed
Sir David Hare’s weird new play sets out to chronicle the history of the Labour movement from 1996 to the…
The gentle side of Bruckner: Rotterdam Philharmonic’s Prom reviewed
It’s intelligent, enjoyable, beautiful to look at and funny in unexpected places, yet Othello at the Globe didn’t quite meet…
If we offer Ian McKellan a peerage, will he promise not to inflict his King Lear on us again?
Gandalf, also known as Ian McKellen, has awarded himself another lap of honour by bringing King Lear back to London.…
Extraordinary power and simplicity: Lehman Trilogy reviewed
Stefano Massini’s play opens with a man in a frock-coat reaching New York after six weeks at sea. The year…
This adaptation of Miss Julie is a textbook lesson in how to kill a classic
Polly Stenham starts her overhaul of Strindberg’s Miss Julie with the title. She gives the ‘Miss’ a miss and calls…
Why has the National given over its largest stage to one of the nation’s smallest talents?
The National has made its largest stage available to one of the nation’s smallest talents. If Brian Friel had been…
A dated and remote two-hour polemic basking in #MeToo topicality: The Writer reviewed
Ella Hickson’s last play at the Almeida was a sketch show about oil. Her new effort uses the same episodic…
A glorious theatrical feast at the National: Foodwork reviewed
There is a restaurant on the stage at the National Theatre in London. It is called Foodwork, and it is…
