National Theatre London - A Guide
An Insider Guide to the Royal National Theatre located on London's Southbank: how do you find it, what are the facilities like, which are the best seats in the Olivier and Lyttelton auditoria and other tips from Paul Seven Lewis of One Minute Theatre Reviews. Do you agree or disagree? Do you have any other tips? Please add your comment.
National Theatre website nationaltheatre.org.uk
National Theatre booking line 020 7452 3000
Check out all the One Minute Theatre Reviews of London theatres.
London. National Theatre
Video about the National Theatre included in the Bluguía digital travel guide London: Tate Modern to Tate Britain, available in App Store (iTunes) and Android Market.
Welcome to the National Theatre
Take a look behind the scenes at the National Theatre, and find out who and what it takes to make a production for one of our three stages.
This film was made as part of the National Theatre’s Let’s Play programme, our first national programme for primary schools. Let’s Play supports schools to make extraordinary theatre with their pupils by providing newly commissioned plays for children to perform, alongside training and learning resources for teachers that enables them to involve children in all aspects of theatre making.
Find out more about Let's Play for primary schools:
Music by Alexander Painter
Macbeth | National Theatre
The National Theatre, creators of War Horse and The Curious Incident of the Dog in the Night-Time, bring this epic and visually daring production of Shakespeare’s most intense tragedy on a tour of the UK and Ireland immediately following a sold out run in London.
Directed by National Theatre Artistic Director Rufus Norris (Cabaret, London Road) and designed by Rae Smith (War Horse, This House) this new production propels Shakespeare’s classic title into a post-apocalyptic world of anarchy and uncertainty.
National Theatre Collection | Free for UK State Schools | Trailer
The National Theatre Collection brings the best of British Theatre to all UK state-funded schools for free.
Our unique collection presents high quality recordings of 24 world-class productions, plus a range of tailored learning resources.
Recorded live at the National Theatre and other leading venues, the Collection will be available to stream in the classroom, giving students the best seats in the house whenever you want.
From Shakespeare and Greek tragedy to contemporary literary adaptations, the Collection will support the primary and secondary curriculum. Resources such as rehearsal insights and short films will aid students’ understanding of play texts and the theatre-making process and inspire them to experience live performances.
--
Subscribe:
Twitter:
Facebook:
Instagram:
--
At the National, we make world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone.
We aim to reach the widest possible audience, to be open, inclusive and diverse, and as national as possible. We stage a broad range of productions in London and tour extensively across the UK. Our international activity puts some of the nation's leading artists on the world stage, with productions playing on Broadway and touring across the globe.
We invest in the future of theatre, have an extensive nationwide learning and participation programme, and create ambitious new works of participatory theatre. We extend our reach through digital programmes including National Theatre Live, which broadcasts some of the best of British theatre to over 2,500 venues in 65 countries.
Royal National Theatre London
Royal National Theatre London UK - Denys Lasdun's - 1963-1976
Denys Lasdun's National Theatre – one of London's best-known and most divisive Brutalist buildings – is a layered concrete landscape that Prince Charles once described as being like a nuclear power station. Completed in 1976, the Royal National Theatre stands on the South Bank of the Thames, just downstream of Waterloo bridge. It is formed from two fly towers rising from layered horizontal terraces that wrap around the building, cascading to the river level. The design for the building was based on Lasdun's idea of architecture as urban landscape.
Lasdun was appointed to the project in 1963. With no previous experience in theatre design, he persuaded the board of theatre directors, designers and technical experts to give him the job without a team alongside him but with the drama of a solo-performance. The National Theatre was a live project for 13 years, with two years spent on the main theatre alone. Lasdun described the early design process as one of evolution, shaped by consultation with the committee. He stated that it began with the spaces of the theatres themselves. The structure is vast and city-like in plan. It accommodates three theatres, the largest seating 1,160 people, alongside restaurants, bars, foyers, workshops and all the mechanics necessary. The open-stage theatre, the Olivier, is shaped like a giant ancient amphitheatre and occupies a large area away from the bridge that runs along one side of the site, while the smaller Proscenium theatre, with an arch over the stage, sits on the bridge. A small studio theatre is tucked away to the east side of the building, alongside the offices and other administrative functions.
Great attention was paid to the details of the quiet interior of the theatre: lighting, sign posting, fittings, the auditorium seats, a change from the stucco and mirrors of theatres of the period. Lasdun even selected the crockery and cutlery for the restaurant. Internally and externally, the rough-cast concrete surface of the National Theatre shows the imprint of the sawn wooden planks used in the casting process, which were supposedly each only used twice, once on each side. Lasdun described the use of concrete: Concrete is a very intractable material, but it can be a beautiful material if it is used in the way its own nature intends it to be used... It is a sort of sculpture that you can only do with reinforced concrete, but you need to work to a certain scale... It is not a cosy little material. On the river side, a series of interconnected foyers make up the main public area, in an L-shape around the two larger theatres. Admiration of the National Theatre tends to focus on the magic of these internal spaces, which tower in sections to their full height. It has come to be thought of as one of the city's key communal spaces, described as the nation's sitting room. Lasdun himself described these spaces as a fourth theatre. He said I feel that all the public areas of the building, the foyers and terraces, are in themselves a theatre with the city as a backdrop. These public interior spaces merge with the terraces outside, or what Lasdun describes as the geological strata of his architecture of urban landscape.
The strata of the building are like new levels of ground and they will become real places. It is very important that the National Theatre becomes a part of the city. Any idea of a cultural ghetto has gone, said the architect.
Lasdun's strata make it hard to define where the National Theatre begins and ends. The interconnected walkways, split levels and circular stairwells of the South Bank merge with the city itself. Installations and temporary structures have occupied the terraces in the past, including a bright red auditorium by Haworth Tompkins. Skateboarders came to use the terraces and under crofts of Lasdun's National Theatre and the other buildings on the South Bank as their playground. Early on, this occupation was seen as evidence of failed architecture yet a recent successful campaign to save the South Bank skate park has acknowledged it as one of the great spaces of London. The National Theatre gained a Grade II heritage listing in 1994, only 18 years after it was built. Despite being thought of with affection by many, such a large public building is bound to provoke controversy. From its conception, when it was compared to a nuclear power station by Prince Charles, to today's debates surrounding a £70 million transformation and renovation of the building by Haworth Tompkins, the National Theatre has divided opinion.
England, race and football fans | Death of England by Roy Williams and Clint Dyer
A family in mourning. A man in crisis. Death of England by Roy Williams and Clint Dyer at the National Theatre:
31 Jan - 7 Mar 2020
Rafe Spall performs an extract from Death of England in rehearsals at the National Theatre.
--
After the death of his dad, Michael is powerless and angry. In a state of heartbreak, he confronts the difficult truths about his father’s legacy and the country that shaped him. At the funeral, unannounced and unprepared, Michael decides it is time to speak.
Rafe Spall (Hedda Gabler, Black Mirror) performs this fearless one-person play which asks explosive and enduring questions about identity, race and class in Britain.
It is written for him by Roy Williams (Sucker Punch, Sing Yer Heart Out for the Lads) and Clint Dyer (The Happy Tragedy of Being Woke), who becomes the first black British artist to have performed, written and directed a full-scale production at the National Theatre.
--
Subscribe:
Twitter:
Facebook:
Instagram:
--
At the National, we make world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone.
We aim to reach the widest possible audience, to be open, inclusive and diverse, and as national as possible. We stage a broad range of productions in London and tour extensively across the UK. Our international activity puts some of the nation's leading artists on the world stage, with productions playing on Broadway and touring across the globe.
We invest in the future of theatre, have an extensive nationwide learning and participation programme, and create ambitious new works of participatory theatre. We extend our reach through digital programmes including National Theatre Live, which broadcasts some of the best of British theatre to over 2,500 venues in 65 countries.
URBAN PHOTOGRAPHY | #2 ARCHITECTURE - ROYAL NATIONAL THEATRE LONDON
URBAN PHOTOGRAPHY | #2 ARCHITECTURE - ROYAL NATIONAL THEATRE LONDON
Photography by Daren Frankish
Originally published by the United States Press Agency:
Ebook available:
Book available from Amazon:
The Royal National Theatre in London, commonly known as the National Theatre (NT) is one of the United Kingdom's three most prominent publicly funded performing arts venues, alongside the Royal Shakespeare Company and the Royal Opera House. Internationally, it is known as the National Theatre of Great Britain.
From its foundation in 1963 until 1976, the company was based at the Old Vic theatre in Waterloo. The current building is located next to the Thames in the South Bank area of central London. In addition to performances at the National Theatre building, the National Theatre company tours productions at theatres across the United Kingdom
Music: Barbarian by Pierlo
Download:
National Theatre Site (1969)
National Theatre site. The South Bank, London.
GV The South Bank. SV Jennie Lee and Desmond Plummer. SV Selwyn Lloyd. CU Man smoking pipe. SV Jim Dale. SV Man with long hair and hat talking to woman with glasses. GV Cement mixer pours concrete into shuttering to make foundation stone. SV Press. GV Cement being poured into shuttering, while on the left Jennie Lee and Desmond Plummer start to even out concrete and on right Lord Chandos and Lord Cottesloe do same. SV Pan people watching. SCU Jennie Lee shovelling concrete with Desmond Plummer, and they throw concrete down into foundation. SCU Lord Chandos and Lord Cottesloe doing same. Pan across to Jennie Lee and Plummer moving concrete down into foundation. LV Pan across of photo of finished model.
FILM ID:2233.02
A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT'S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES.
FOR LICENSING ENQUIRIES VISIT
British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1984. All footage can be viewed on the British Pathé website.
Getting Better Slowly - National Theatre Tour
Adam Pownall woke up to find his body was slowly shutting down. Unable to walk, talk or blink and nobody knew why…
When Guillain Barré Syndrome affected Adam it caused full paralysis within days. Getting Better Slowly tells the story of his illness through a creative collision of new writing, verbatim accounts, sound and movement. How does it feel when your closest relationship is with the illness that’s holding you back? Adam’s frank and moving account of how he dealt with GBS and the two years he spent recovering – including months spent learning how to walk and talk again – explores the relationship we all have with our bodies and our health. Telling his story with warmth, humour and honesty, and explaining how GBS is still part of his life, he invites audiences to consider how they would deal with an unexpected illness or accident affecting them or someone they love.
22nd September Lincoln Drill Hall lincolndrillhall.co.uk
23rd September Lincoln Drill Hall lincolndrillhall.co.uk
1st October Barnsley Civic barnsleycivic.co.uk
2nd October New Diorama, London newdiorama.com
3rd October New Diorama, London newdiorama.com
12th October South Holland Centre, Spalding southhollandcentre.co.uk
14th October Old Library, Mansfield lincolndrillhall.com
15th October Old Library, Mansfield
22nd October Attenborough Arts, Leic www2.le.ac.uk/hosted/attenborougharts
3rd November ARC Stockton arconline.co.uk
6th November Square Chapel, Halifax squarechapel.co.uk
15th November Riverhead Theatre, Louth louthplaygoers.com
16th November Guildhall, Grantham guildhallartscentre.com
17th November Stamford Arts Centre stamfordartscentre.com
1st December Deda, Derby deda.uk.com
2nd December Nottingham Lakeside Arts lakesidearts.org.uk
15th February CAST, Doncaster castindoncaster.com
17th February Harrogate Theatre harrogatetheatre.co.uk
19th February Slung Low Hub, Leeds slunglow.org
Performed by Adam Pownall & Kitty Randle
Creative Producer – Adam Pownall
Director – Tilly Branson
Movement Director – Marc Brew
Writer – Nick Wood
Associate Dramaturg – Luca Rutherford
Music – Poetical Machines
Designer – Kate Unwin
Lighting Design – Howell Thomas
The production is supported by Arts Council England.
Commissioned by GAIN Charity, Lincolnshire One Venues & Lincoln Drill Hall
With further support from ARC Stockton, Deda Derby & In Good Company.
facebook.com/gbsproject
twitter.com/gbsproject
National Theatre War Horse Trailer
The National Theatre's acclaimed production of War Horse, will begin a major tour of the UK next year including a 4 -week run at the Royal Concert Hall, Nottingham from 14 March - 7 April 2018.
Tickets will go on sale at 9am on Monday 8 February 2016 at trch.co.uk or by calling the Box Office on 0115 989 5555
The tour of War Horse coincides with the Centenary commemorations of the end of the First World War and follows the production's enormously successful tour of the UK and Ireland in 2013-2014.
War Horse, which has been seen by over seven million people worldwide, completes its record-breaking eight year London run at the New London Theatre on 12 March 2016. It has won 25 awards including the Tony Award for Best Play on Broadway. Directed by Marianne Elliott and Tom Morris, Nick Stafford's adaptation of Michael Morpurgo's remarkable story of courage, loyalty and friendship, about a young boy called Albert and his horse Joey, set against the backdrop of the First World War is the most successful play in the National Theatre's history. It features ground-breaking puppetry work by South Africa's Handspring Puppet Company, which brings breathing, galloping horses to live on stage.
War Horse received its world premiere on 9 October 2007 at the National Theatre, where it played for two seasons before opening at the New London Theatre in March 2009. Since then, War Horse has been seen in 97 cities in 10 countries, including productions on Broadway, in Toronto and Berlin, with touring productions in the UK and Ireland, North America, the Netherlands and Belgium. A Chinese-language production opened in Beijing last year, and is currently running in Shanghai.
Michael Morpurgo said: 'After a few months rest, out at pasture, Joey, the War Horse and his great team from the National Theatre, will be touring the UK again, from 2017 through to 2018 and the centenary of the end of the First World War, taking their show all over the country, to towns and cities, many of them places War Horse has not been seen before. I am so pleased this is happening; that so many more people will have the chance to enjoy this unique theatrical event. Steady boy, steady Joey. Trot on!'
War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt.
War Horse is produced on tour by the National Theatre.
Space Commander and Groove Machine | The Royal National Theatre London, UK | 2012
We had an absolutely spectacular time at The Watch This Space Festival. I want to thank Angus and his whole crew for the incredible hospitality and for putting on such a great show. This team works exceptionally hard, it was a real pleasure, a real highlight of the year and we wish them all the best for the rest of their very long season.
The Business Of Murder UK National Theatre Tour
The Business Of Murder by Richard Harris
Designed and directed by Michael Lunney
Starring ROBERT GWILYM (Casualty/The Bill), PAUL OPACIC (Bad Girls/Emmerdale/Hollyoaks) and JOANNA HIGSON (Shameless/WPC56).
Middle Ground Theatre Company is delighted to present Richard Harris’ acclaimed psychological thriller, which enjoyed a successful 9-year run in the West End.
Stone, a humourless and dour man, invites Dee, a television playwright, over to his flat on the premise of discussing a script. Once there, she is surprised when superintendent Hallett, the man with whom she is having an affair, also arrives for an entirely different reason.
But nothing is as it seems, and as the plot twists and turns the motive of their host Stone gradually becomes clear. They are all, it would seem, in the same business…. The Business of Murder.
This is a gripping psychological thriller from the pen of that doyen of great detective / thriller writers Richard Harris (A Touch of Frost, The Avengers, The Sweeney and The Last Detective).
This 2015 tour stars Robert Gwilym, known by millions for his role as Dr Max Gallagher in Casualty, alongside Paul Opacic (a regular as Steve Marchant in Emmerdale, Mark Waddle in Bad Girls and Carl Costello in Hollyoaks), and Joanna Higson, who played Maxine Donnelly for two series of Shameless and is currently appearing as Vicky Hall in BBC TV’s WPC56.
My Country by Carol Ann Duffy and Rufus Norris at National Theatre, London | Performance Analysis
My thoughts on My Country; A Work in Progress by Carol Ann Duffy and Rufus Norris. The National Theatre's response to the Brexit vote, this verbatim piece premiered in the Dorfman auditorium in March 2017 before touring the UK.
This is the latest in a series of performance anaylses/reviews I've been undertaking as part of my PhD Research at the University of Exeter.
If you've enjoyed this video then please do check out the rest of my channel. I generally put out new videos every Tuesday and Friday discussing theatre and playwriting from the perspective of an aspirant and (some might say) emerging playwright, theatre maker and academic.
Music Credit
That Kid in Fourth Grade Who Really Liked the Denver Broncos by Chris Zabriskie is licensed under a Creative Commons Attribution license (
Source:
Artist:
Peter Pan - National Theatre (London)
National Theatre Collection – Launch Trailer
The National Theatre Collection goes live with 19 titles available worldwide in partnership with Bloomsbury Publishing and ProQuest.
This new digital service draws on ten years of NT Live broadcasts, alongside high quality archive recordings never previously seen outside of the NT’s Archive. The National Theatre Collection will make the best of British theatre available to libraries, schools, universities and the education sector around the world, for the very first time.
Bloomsbury (Drama Online):
ProQuest (Alexander Street):
The National Theatre Collection is supported by the Stavros Niarchos Foundation (SNF), Fondation Hoffmann, the Sidney E. Frank Foundation and The Attwood Education Foundation.
The Visit by Tony Kushner | An introduction with Hugo Weaving and Lesley Manville
The classic story of revenge. The Visit, or The Old Lady Comes to Call based on the play by Friedrich Dürrenmatt and adapted by Tony Kushner at the National Theatre:
31 January - 13 May 2020
Lesley Manville and Hugo Weaving introduce the National Theatre's new production of The Visit.
--
Jeremy Herrin (This House) directs Lesley Manville (Phantom Thread, Long Day’s Journey into Night) and Hugo Weaving (The Matrix, The Lord of the Rings) as former lovers in Friedrich Dürrenmatt’s visionary revenge play, transported into mid-20th-century America by Tony Kushner (Angels in America).
In the town of Slurry, New York, post-war recession has bitten.
Claire Zachanassian, improbably beautiful and impenetrably terrifying, returns to her hometown as the world’s richest woman.
The locals hope her arrival signals a change in their fortunes, but they soon realise that prosperity will only come at a terrible price.
--
Subscribe:
Twitter:
Facebook:
Instagram:
--
At the National, we make world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone.
We aim to reach the widest possible audience, to be open, inclusive and diverse, and as national as possible. We stage a broad range of productions in London and tour extensively across the UK. Our international activity puts some of the nation's leading artists on the world stage, with productions playing on Broadway and touring across the globe.
We invest in the future of theatre, have an extensive nationwide learning and participation programme, and create ambitious new works of participatory theatre. We extend our reach through digital programmes including National Theatre Live, which broadcasts some of the best of British theatre to over 2,500 venues in 65 countries.
The Antipodes Review National Theatre Dorfman London Annie Baker Conleth Hill
???? GET #BAL MERCH HERE:
The Break A Leggers review Annie Bakers The Antipodes in the Dorfman Space at the National Theatre.
Following acclaimed runs of The Flick and John, Pulitzer Prize-winner Annie Baker returns to the National Theatre with her latest play.
Their phones switched off, a group of people sit around a table telling, categorising and theorising stories. Will it be Break A Leg? Or LEG IT!!
Tickets available at:
???? Twitter
???? Facebook
✒️ BLOG •
???? INSTAGRAM •
✉️ Or email us: info@breakaleggers.co.uk
National Theatre: Vocal Warm-Up
This short vocal warm-up led by Jeannette Nelson offers actors techniques to prepare their voice ahead of rehearsals and performances, featuring exercises on breathing, resonance, projection and articulation.
Jeannette Nelson is the Head of Voice at the National Theatre and author of The Voice Exercise Book:
Rockvilla – National Theatre of Scotland HQ | Hoskins Architects | Glasgow, United Kingdom | HD
• Architects
Hoskins Architects
• Location
Glasgow, United Kingdom
• Lead Architects
Chris Coleman-Smith, Rory McCoy
• Area
3675.0 m2
• Project Year
2016
• Photographs
Gillian Hayes - Dapple Photography
• Manufacturers
Kalzip
• Main Contractor
Luddon
• Mechanical and Electrical Engineer
Atelier Ten
• Structures and Civil Engineer
Woolgar Hunter
• QS/Employers Agent
Thomas & Adamson
• Acoustic Consultant
Sandy Brown Associates
• Client
The National Theatre of Scotland
Text description provided by the architects. Hoskins Architects was commissioned to design the National Theatre of Scotland's headquarters, bringing together various departments previously scattered across several buildings. This new facility, Rockvilla, does not host public performances, but rather, is a creative engine room to facilitate the Company's commitment to performing to diverse geographic audiences, and their growth on both their national and international stage. The redevelopment of a disused industrial warehouse on the banks of the Forth & Clyde Canal provides: three rehearsal rooms of varying scales, a learning and community suite, wardrobe department, production workshop and technical store; plus office space and social areas.
h/t Archdaily
--------------------------------------------------
►WELCOME TO HOME&IDEAS CHANNEL
•Subscribe to HOME&IDEAS YouTube Channel :
--------------------------------------------------
►CONNECT WITH HOME & IDEAS !
•Google+ :
•Twitter :
•Facebook :
•Instagram :
•Pinterest :