Aside from a late-in-the-show visual flourish involving the projection of a many-windowed building facade, the production has few noticeable alterations. That projection, though, is a nice touch, suggesting that the very personal pain experienced by each of these characters could be happening behind each and every pane of glass.
When I reviewed the production in February during its Public Theatre engagement, I was struck by the emotional impact of the performances, the writing and Carrie Cracknell’s direction. All of that stands, but seeing it again, this time in the larger Broadway venue, I noticed the many moments of
Film4 is a perennial presence during the awards season and at major festivals. The Favourite and Cold War scored 13 nominations with the Academy this year. At Cannes next week, the Daniel Battsek-led funder will be represented by Asif Kapadia’s anticipated soccer doc Diego Maradona as well as a host of projects in the market such as Olivia Colman starrer The Father.
Last night industry saw impressive sneak peaks of upcoming projects including Justin Kurzel’s The True History Of The Kelly Gang, Armando Iannucci’s The Personal History Of David Copperfield, Sarah Gavron’s Untitled Girls project and first-time filmmaker Rose Glass’s Saint Maud.
Steve Coogan’s thinly veiled Philip Green satire Greed drew laughter and there were
Originally presented in February at the Public Theater to strong reviews, Sea Wall/A Life will begin performances on Friday, July 26 at Broadway’s Hudson Theatre, with an opening night set for Thursday, August 8. The strictly limited engagement will play through Sunday, September 29.
“This gorgeous, soul-stirring evening of theater deserves to be seen by as many people as possible,” said Public Theater Artistic Director Oskar Eustis. “I’m so proud that Tom Sturridge and Jake Gyllenhaal’s brilliant performances will live on at the Hudson.”
Written by Simon Stephens and Nick Payne, with both directed by Carrie Cracknell, the double bill will be produced on Broadway by Nine Stories, Ambassador Theatre Group, Seaview Productions, Benjamin Lowy Productions,
There’s a hole running through the centre of my stomach. You must have all felt a bit awkward because you can probably see it. Even in this light. Mostly people chose not to talk about it. Some people tell me that they’re sorry but that yes,
None of which will come as a surprise to anyone who saw Gyllenhaal in his previous collaboration with playwright Nick Payne, nor those who saw Sturridge in 2017’s unsettling 1984. But these performances at the Public are vital enough to seem like a big wave we didn’t see coming.
Directed by Carrie Cracknell with an unfailing feel for detail – a shuffle of papers here, a switch of a light there – the production is divided into halves: Sturridge in Sea Wall first, followed by Gyllenhaal in A Life, monologues connected only by theme and mood.
“It’s unadulterated, unedited, no post-production,” says Creative Broadcast Solutions’ Chris Bretnall, who has served as National Theatre Live’s technical producer since the initiative’s inception.
The goal is “to replicate — as best as we possibly can — the experience you’re going to get seeing a play in the Lyttelton Theatre or the Olivier or the Dorfman and give you the best seat in the house in whichever country, whichever time zone you might be in,” Bretnall says.
The next play coming to U.S. movie theaters courtesy of National Theatre Live is “Julie” on Sept. 6. The modern take on August Strindberg’s 1888 play “Miss Julie” stars Vanessa Kirby and Eric Kofi Abrefa.
The West End hit Girl From the North Country, written and directed by Conor McPherson and featuring music from Dylan’s songbook, will make its North American premiere in September, with an American cast. (The photo above was taken at the Old Vic Theatre in London last July).
Also in September, Jane Anderson’s Mother of the Maid makes its New York premiere starring Glenn Close as the mother of Joan of Arc.
Gyllenhaal and Sturridge also are set to appear in a double bill of solo shows beginning in January. Sturridge will perform Simon Stephens’ Sea Wall, a monologue “about love and the human need to know the unknowable,” while Gyllenhaal stars in Nick Payne’s A Life,
Thanks for reading! And watching. Great answering all your questions - au revoir!
Do you find parallels between the characters you play – ie Stella and Hedda? Both are destructive in their own way. Do you ever draw on your experiences playing other characters with whom you can see similarities?
Sometimes there are similarities, but I've never put those two together. I've seen moments of Alice in Hedda, and moments of Alison in Hedda - in their self loathing. Alice is a psychopath, and is slightly different, she enjoys it and doesn't have a conscience; Alison and Hedda have a deep sense of self-loathing, with Hedda it's quite far down and she doesn't recognise it.
"Um," says Ruth Wilson worriedly, her brow furrowing and her long limbs coiling in embarrassment around her chair. "I am a bit of a control freak. Well, not really. Not totally." She halts. "Ok, I am a bit." Blimey. All I've asked is whether she's ever performed drunk. She seems scandalised by the notion. "No, no," she says. "The idea of not being in control of your faculties, I don't think so. Too much responsibility. Too scared!"
Fear isn't a concept you associate with Wilson, who has made her reputation in some unflinching roles: a sensuous Stella in A Streetcar Named Desire, a psychologically harrowing Karin in Ingmar Bergman's Through a Glass Darkly, Anna Christie in Eugene O'Neill's
Rather than filming an existing production for screening in cinemas (ala "National Theatre Live"), the plan is to shoot proper films of its plays, while using most of the cast and crew from the stage version.
The first in development is an adaptation of Aimé Césaire's "A Season in the Congo" which has attracted actor Chiwetel Ejiofor ("Serenity," "12 Years A Slave") and filmmaker Joe Wright ("Atonement," "Anna Karenina").
The story is a retelling of the 1960 Congo rebellion and the assassination of charismatic political leader Patrice Lumumba (Ejiofor). Wright and Ejiofor presented the play over the Summer and scored excellent reviews.
Filming on the project will begin in Kinshasa early next year. Ahead of that though, a spin-off short film based on the play will be released in November.
It is small in size, but big on innovation. The Young Vic made its name worldwide as one of the UK's most exciting producing theatres, offering fresh versions of the classics, new plays and emerging talent alongside established stars. Now it is breaking more boundaries, with ambitious plans to shoot feature films.
Other theatre and opera companies have had success showing their existing productions in cinemas, filmed by external producers. But the Young Vic is taking the concept further by making original films of plays, using most of the stage version's cast and crew.
Two such movies are in development. The first, to be shot in Kinshasa, is a version of its acclaimed A Season in the Congo, involving two of the industry's biggest names: actor Chiwetel Ejiofor and director Joe Wright.
Hattie Morahan will reprise her award-winning role of Nora Helmer and Dominic Rowan returns as her husband Torvald. Morahan won the 2012 Evening Standard Award and Critics’ Circle Award for her performance as Nora as well as receiving an Olivier award nomination for the role. The play, written by Henrik Ibsen, centers on women’s role in society and originally caused controversy when opening due to its critical stance on the marriage customs of the 19th century .
The Young Vic is committed to offering tickets at low prices and the West End transfer is keeping this commitment; over 100 tickets for each performance will be £10 and during the 12 week run 29,000 tickets will be available at Young Vic prices.
Jude Law will team up with the Belarus Free Theatre for the next in the series of short films coproduced by the Guardian and the Young Vic theatre.
Over the course of this year, the two organisations will present a series of four films created by the stars and creatives behind Young Vic productions, supported by Bloomberg.
Law, who played Christopher Marlowe's Dr Faustus at the Young Vic in 2002 and has supported Belarus Free Theatre for a number of years, will appear in a film the company has written in collaboration with Laura Wade, the playwright behind the Royal Court's hit Posh.
It will be followed by new short written and directed by Olivier award-winning actor Chiwetel Ejiofor, who stars in Aimé Césaire
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The Curious Incident of the Dog in the Night-Time is the leading contender at this year's Olivier theatre, dance and opera awards, with nominations in eight categories, including best new play and best director.
Luke Treadaway, the young lead in the National Theatre production of Mark Haddon's bestselling novel, is also nominated for best actor, up against Rupert Everett's portrayal of Oscar Wilde in The Judas Kiss, James McAvoy's Macbeth, Mark Rylance's Olivia in Twelfth Night and Rafe Spall in Constellations.
In numerical terms, the crowd-pleasing musical Top Hat gets the next biggest number of nominations – seven, including best actor and actress in a musical nominations for its stars Tom Chambers and Summer Strallen.
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