Latest news with #NationalTheatre
Daily Mail
a day ago
- Entertainment
- Daily Mail
PATRICK MARMION reviews Inter Alia at the Lyttelton, National Theatre, London: All rise for Rosamund: Pike's a force of nature in electrifying sequel to hit courtroom drama
Inter Alia, Lyttelton, National Theatre, London Has lightning struck twice? Rosamund Pike was sensational on Wednesday night as a High Court judge in a new play at the National Theatre by Australian writer Suzie Miller – the woman who wrote that other hit play about the law, Prima Facie, starring a similarly sensational Jodie Comer in 2022. Intriguingly, Inter Alia is a mirror image of Prima Facie. Where Comer was Tessa Ensler, a have-it-all barrister defending rape suspects, Pike is Jessica Wheatley, a High Court judge trying and sentencing the same. Both plays have Latin titles and run for 100 minutes without an interval. Both are directed by Justin Martin and designed by Miriam Buether. And both turn the tables on their heroines to create devastating moral dilemmas. The difference is that, unlike Prima Facie, Inter Alia isn't entirely a monologue. We first encounter Pike as a clever, light-touch judge, feminising an alpha-male profession with her 'soft skills'. Then we discover her at home as a crusading super-mum: marinating veg, sorting laundry and doing the ironing – all before heading back to court and 'the manosphere'. Pike's Jessica is a force of nature, going out on karaoke nights with girlfriend barristers. But like every good middle-class mother she's also riven with guilt about not being good enough. And although her supportive husband Michael (Jamie Glover) is a sensitive yet adventurous lover, the god of her idolatry is her son Harry (Jasper Talbot). And it's because of Harry that her seemingly perfect life falls apart, despite best-practice parenting, including warning him about social media and online porn. It's reminiscent of Netflix's smash hit Adolescence, so no prizes for guessing why the wheels come off Jessica's dream. The fact that we can see it coming a mile off simply adds to the sense of dread in Martin's helter-skelter production. The only thing that rankled with me is the play's presumption that we are enchanted by Jessica's middle-class values and 'parenting style'. Even so, Inter Alia – whose title means 'among other things' – plays out like a Greek tragedy. Both the male characters are reduced to benign stereotypes. Michael is a basically good, if corner-cutting husband. And Harry is a basically good, if desperate-to-fit-in son. But Pike... she blazes alone: multitasking in the kitchen and in her judge's chambers, walking a mental tightrope and talking us through her 360-degree collapse. Increasingly uncomfortable to watch, just like Prima Facie it will keep the chattering classes chattering long into the night.
South Wales Guardian
3 days ago
- Entertainment
- South Wales Guardian
Samantha Womack felt 'emotional' reading Dear England script ahead of tour
The former EastEnders star, 52, who described taking time off work after being diagnosed with breast cancer in 2022, will soon portray the team psychologist, Pippa Grange, in a nationwide tour across England of James Graham's award-winning play. The play follows former England manager Sir Gareth Southgate as he navigates the pressures of the team – and the nation. Speaking to the PA news Agency about the role, Womack described Ms Grange as 'wonderful', despite not meeting her in person yet. She added: 'I hadn't really appreciated Pippa's position in that whole transformation of culture, not just football. 'This introduction of this woman, this kind of culture coach and watching some of her YouTube videos, and her warmth, her ability to speak to people in a way that is completely leftfield, but also to be tackling that predominantly male environment, quite incredible. 'And the kind of marrying of her and Gareth (Southgate) with his experience, I just thought was a fantastic way to tell a story. 'I found myself really emotional reading it, which I just didn't expect, I didn't expect at all and then all the humour and the pulling focus on the various different worlds, commenting on the football but also commenting again on failure. 'I just thought, what an incredible piece of work. I just immediately said, please, I'd love to do this. '(It will be) my first National Theatre collaboration, so I'm excited about that. I'm excited to be doing a play and it will just be great for me to get back to work.' The play had a sell-out run at the National Theatre before it transferred to the West End in 2023, securing best new play at the Olivier Awards in 2024. Womack will be joined by English actor David Sturzaker, who will take on the role of Sir Gareth for its 16-venue tour. The production will start in Plymouth on September 15 before stopping in major cities including Newcastle, Liverpool and Birmingham, until the tour comes to a close on March 14 2026. Speaking about the play, Womack added: 'I think we all can empathise with that feeling of pressure, that feeling of failure, that feeling of kind of being alienated and set loose from the pack. We as humans function like that. 'We want very much to be accepted and to be loved and I think that's quite a difficult thing to feel in this world. It's complicated, isn't it? 'The football world becoming a metaphor for what it feels like to walk into an arena of expectation. 'We often see footballers, particularly these kind of young kids, these kind of shiny, faultless rich people who are winners in life, and to actually see that mask dropped and how these human beings feel in that world, and the pressures of that, whether you're a black player or a white player, for different reasons, that pressure and the conflict of what that might feel like, I think it's so important. 'With the Lionesses now we've got this wonderful world of female football capturing the nation's imagination. But I think looking into that predominantly male world, it's a really good thing to show what's going on backstage.' Dear England received nine Olivier Award nominations last year, winning best new play and best actor in a supporting role for Will Close for his turn as Harry Kane. It was later announced the play would be adapted into a four-part BBC TV drama, with Joseph Fiennes reprising his starring role as Sir Gareth and Doctor Who star, Jodie Whittaker, taking on the role of Pippa Grange. Sir Gareth ended an eight-year stint as the national team boss in the wake of the Euro 2024 final defeat to Spain and the play has been updated to reflect his final chapter as England manager.
Leader Live
3 days ago
- Entertainment
- Leader Live
Samantha Womack felt 'emotional' reading Dear England script ahead of tour
The former EastEnders star, 52, who described taking time off work after being diagnosed with breast cancer in 2022, will soon portray the team psychologist, Pippa Grange, in a nationwide tour across England of James Graham's award-winning play. The play follows former England manager Sir Gareth Southgate as he navigates the pressures of the team – and the nation. Speaking to the PA news Agency about the role, Womack described Ms Grange as 'wonderful', despite not meeting her in person yet. She added: 'I hadn't really appreciated Pippa's position in that whole transformation of culture, not just football. 'This introduction of this woman, this kind of culture coach and watching some of her YouTube videos, and her warmth, her ability to speak to people in a way that is completely leftfield, but also to be tackling that predominantly male environment, quite incredible. 'And the kind of marrying of her and Gareth (Southgate) with his experience, I just thought was a fantastic way to tell a story. 'I found myself really emotional reading it, which I just didn't expect, I didn't expect at all and then all the humour and the pulling focus on the various different worlds, commenting on the football but also commenting again on failure. 'I just thought, what an incredible piece of work. I just immediately said, please, I'd love to do this. '(It will be) my first National Theatre collaboration, so I'm excited about that. I'm excited to be doing a play and it will just be great for me to get back to work.' The play had a sell-out run at the National Theatre before it transferred to the West End in 2023, securing best new play at the Olivier Awards in 2024. Womack will be joined by English actor David Sturzaker, who will take on the role of Sir Gareth for its 16-venue tour. The production will start in Plymouth on September 15 before stopping in major cities including Newcastle, Liverpool and Birmingham, until the tour comes to a close on March 14 2026. Speaking about the play, Womack added: 'I think we all can empathise with that feeling of pressure, that feeling of failure, that feeling of kind of being alienated and set loose from the pack. We as humans function like that. 'We want very much to be accepted and to be loved and I think that's quite a difficult thing to feel in this world. It's complicated, isn't it? 'The football world becoming a metaphor for what it feels like to walk into an arena of expectation. 'We often see footballers, particularly these kind of young kids, these kind of shiny, faultless rich people who are winners in life, and to actually see that mask dropped and how these human beings feel in that world, and the pressures of that, whether you're a black player or a white player, for different reasons, that pressure and the conflict of what that might feel like, I think it's so important. 'With the Lionesses now we've got this wonderful world of female football capturing the nation's imagination. But I think looking into that predominantly male world, it's a really good thing to show what's going on backstage.' Dear England received nine Olivier Award nominations last year, winning best new play and best actor in a supporting role for Will Close for his turn as Harry Kane. It was later announced the play would be adapted into a four-part BBC TV drama, with Joseph Fiennes reprising his starring role as Sir Gareth and Doctor Who star, Jodie Whittaker, taking on the role of Pippa Grange. Sir Gareth ended an eight-year stint as the national team boss in the wake of the Euro 2024 final defeat to Spain and the play has been updated to reflect his final chapter as England manager.
Metro
6 days ago
- Entertainment
- Metro
Banky's right-hand man reveals moment artist was 'seconds' from being exposed
Banksy's former manager has revealed when the anonymous graffiti artist was inches away from being caught in the act. Steve Lazarides, who was Banksy's manager from 1997 to 2008, told Metro the graffiti legend was 'seconds' away from being arrested and revealing his name. The graffitist's identity has been a well-kept secret since he rose to prominence in the 1990s, leading to wild speculation and rumours as to who the Bristol artist could be. The world almost found out back in 2004, when Banksy was spraying the word 'boring' onto the side of the National Theatre on the South Bank. Lazarides was on the other side of the road during the close shave with officers as he was taking pictures of the artist in action. Banksy's agent told Metro: 'Just as he finishes writing it, the police were about to walk around the corner and see him. 'I was too far away. I saw them coming, but I couldn't shout, the street was too noisy. 'He was just seconds away from being caught.' Lazarides was also bound by his duty as the photographer not to get involved. 'As the documenter, I am not able to help,' he explained. 'My job was to capture what is going on.' Unaware, Banksy made a very lucky escape and avoided the approaching officers. The photographer recalled: 'He rolled off and went to the walkway underneath.' While street artists are far less likely to be arrested nowadays, Lazarides said back in 2004 Banksy would have been apprehended if caught, which is why he kept his identity anonymous. This likely would have meant his secretive cover would have been blown. Asked if his arrest that day would have led to his identity being exposed, Lazarides answered: 'Probably, because he would have given his name to the police.' According to Banksy's former manager, the artist came close to being unmasked 'numerous times', but he was 'remarkably lucky to get away with it' throughout his career. The pair, who are both from Bristol, met when Banksy was doing a feature for the magazine Sleazenation. Photographer Lazarides then took Banksy's portrait and a few weeks later got the call to photograph another piece by the now famous graffitist. The pair then worked together for a decade as Banksy's fame skyrocketed, with Lazarides snapping everything he did. Lazarides spoke to Metro as he unveiled his collection of photographs and artwork, many from their time together, to collectors at an event hosted by the Grove Gallery. Many of these include snaps of Banksy with his back to the camera as he worked. The photographer said he once asked Banksy to give up his anonymity during the early stage of his career, saying his true identity is too unexpected to be believed. Banksy emerged as a street artist in Bristol in the early 1990s. He's thought to have been born in the Gloucestershire town of Yate in the 1970s, starting his artistic journey in the nearby city with a politically engaged music scene. As part of Bristol's DryBreadZ Crew, he was influenced by other figures in the Underground Scene like 3D, also known as Robert Del Naja, a member of Massive Attack. By the 2000s when he appeared to move to London, Banksy had swapped freehand designs for stencilled ones, allowing him to produce pieces more quickly. Already the most famous street artist in the UK, he started turning graffiti into high art favoured by the wealthy, with exhibitions in Britain and abroad. Many of his murals call for peace and poke fun at authority and inequality, featuring characters like rats, police and children. He explained: 'I said to him, 'Why don't you just out yourself?' because then he could breathe and live your life. 'I said to him: 'No one is going to believe you. Everyone has that Robin Hood figure in their head and it is not you.'' More Trending But Lazarides said Banksy 'just wouldn't do it.' Since then, canvases of Banksy's work that used to be sold for just £200 at the beginning of his career, now go for millions. His most recent artwork featured a mural is of a lighthouse shining with the words, 'I want to be what you saw in me' printed on it. London went wild last summer when Banksy unveiled nine animal-inspired works across the capital. Get in touch with our news team by emailing us at webnews@ For more stories like this, check our news page. MORE: The ultimate BYOB pottery experience from just £23: 10 unmissable Time Out deals MORE: London's 'grown up' ice cream pairings and 14 more things to try this weekend MORE: Model's fury at phone snatchers after thieves take her mobile twice in three months
Time Out
7 days ago
- Entertainment
- Time Out
Adeel Akhtar (Angad)
This nihilistic comedy about a British Asian politician who seizes his chance to become leader of the opposition is funny and frustrating in equal measures. In the opening scenes, first time playwright Shaan Sahota (she also works as a doctor!) does a decent job of spinning an In The Thick of It -style yarn about Angad (Adeel Akhtar), a very junior British Sikh shadow minister who suddenly finds himself in play for the leadership of what is implicitly the Tory Party. The opening scenes thrum with an energy not dissimilar to a previous National Theatre triumph, James Graham's This House, as it plunges us into an amusingly compromised world of sweary spads, cocky whips and malleable MPs. Helena Wilson is scene stealingly entertaining as the apparently humble Angad's shark-like head of comms Petra. It's fun. But then Sahota introduces what is essentially an entire second main storyline, this time revolving around Angad's late father's will and his family's lasting trauma at their patriarch's unfeeling treatment of them. We see Angad playing the role of the understanding if somewhat distant brother to his GP eldest sister Gyan (Thusitha Jayasundera) and hilariously highly strung middle sister Malika (Shelley Conn, superb). And then we see him calmly accept the will's shock contents, much to the horror and fury of his siblings. These two threads – cynical political comedy and more sensitive look at the traumatising legacy of a patriarchal upbringing – are by no means impossible to square. Akhtar's Angad displays broadly the same characteristics in each: a genuinely nice, humble guy whose head is instantly turned the second opportunity presents itself. But it's not enough to make The Estate align with itself. In Daniel Raggett's production the comedy bits are so broad as to undercut the more sensitive bits. It feels like two different shows crashing into one another, bound only by a corrosive cynicism about politicians. But on that last note it feels weirdly detached from the real world: there's no mention of Rishi Sunak, Reform or who the actual ruling party of the day is. I'm not even sure any real life politicians or political events are namechecked at all. I realise the intention is to avoid getting bogged down in political detail, but there is something peculiar about its blend of detachment from and immense cynicism toward contemporary British politics. In the Thick of It was very recognisably a version of the late New Labour era, but the 2025 Tory Party is an astoundingly hot mess and The Estate suffers from only wanting to engage with it in very general terms. Don't get me wrong: there are two pretty good plays here. The 'comedy' plot may lack in specifics but it has some very smart stuff about the way Parliament is composed of people from such an unhealthily compressed social sphere that they have all known each other since they were kids, and were literally groomed for power. The 'serious' plot paints the entire family as so traumatised by their overbearing late dad that they're each damaged to the point of dysfunction. It reckons more sensitively with the family's status as second generation immigrants and the lasting shadow of 'traditional' values. Either would have made a really satisfying full length play, or even a double bill of shorter plays. But the two just don't mesh properly: The Estate seesaws between amusingly cynical and just plain bleak; Aktar's Angad – even by this country's Trussian standards – just too much of a public liability to possibly be made LOTO, at least by the end. You're allowed a bit of latitude in a comedy of course but Raggett's production is only half that. It's decent, but too disjointed to serve as a classic debut.
