News and updates about NT live

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Suzie Miller: “Don’t give up. If you feel passionate, just keep doing it. There will be knocks and hardships and it is easy to give up along the road. But keep going, you will see it all come together.” 

When Prima Facie hits our cinemas next month cinemas as part of NT Live to see Jodie Comer’s sell-out West End debut the play’s writer Suzie Miller will be watching intently to see how it translates from stage to screen. Prima Facie shines a light on the Australian legal system. Around 60,000 people shared in Tessa’s story at the Harold Pinter Theatre – from 21st July the conversation continues with the rest of the world.

Suzie Miller © by Helen Murray

We are talking on the telephone, a couple of weeks after Opening Night, in which Comer received rave reviews. “I just think that NT Live is such a wonderful thing, it makes theatre accessible to everyone and is an astonishing leveller and the ultimate invite to experience theatre filmed,” Miller says.

An Australian-British criminal defence lawyer working in the human rights sector, writer Miller witnessed first-hand how the Legal System fails most sexual assault victims. She studied while working as a lawyer and left the bar to be a full-time playwright in 2010.  

“The play began when I was studying criminal law and how it is structures and thinking there’s something about the way sexual assault that is doesn’t feel right – as went through my practice in law it continued to come through to me that it just wasn’t working for victims,” Miller tells me.

Due process is everything: “I was and still am committed to the concept of innocence until proven guilty. I also think that sexual assault is a special area that is not necessarily being catered to by a very male focussed legal system.”  

At almost 2 hours long and with no interval, the play packs a lot in. Essentially, a play about a lawyer who specialises in defending men accused of sexual assault, until she is assaulted herself: the insecurities she’s faced, heartbreak, sexism, misogyny, being told to look and behave a certain way. 

I mention that Comer owned the courtroom; a theatre animal. “Jodie is such an incredible screen actress,” she says with some admiration. “It is astonishing how she stepped out on the stage (Comer had only been in one play before, in Scarborough, when she was 16) and become a theatre actor. I just think that she’s born to do theatre. She is incredible.” 

Suzie Miller with Jodie Comer © by Helen Murray

The play, it is fair to say, recieved a mixed reception here; some critics were not enthusiastic about the text itself. In a four-star review, the Evening Standard said: “Suzie Miller’s script is a great vehicle rather than a truly great play, however – shrewd and economical in its analysis of how the system treats assault survivors, but schematic in its plotting.”

The Guardian’s review stated that “[Comer] roars through Suzie Miller’s script. The play roars, too, sometimes too loudly in its polemic, but Comer works overtime to elevate these moments,” and that the script “ falls into a loudly lecturing tone at the end.” 

I ask her how the critical and audience responses varied here to the Australia run. She responds pragmatically. “Somehow having a woman stand on stage and make a direct political address within the confines of her story, it is bordering on being a lecture,” she says. “Look at Atticus Finch in To Kill A Mockingbird or Mark Rylance’s final speech in Jerusalem. Hailed as mesmerising. It seems to be something that some critics here are not used to. You know you’ve made a difference when the play is not just in the arts pages,” Miller says. 

Still, quibbles about polemic do not matter, Prima Facie was one of the hottest tickets in Europe; with Killing Eve star Comer attracting the mythical kind of post West End show frenzy not seen in years – and her legions of teenage fans love her. Truly.

Jodie Comer in Prima Facie

For Miller, though, the idea that someone is consenting unless they tell you that they are not “doesn’t fit with women’s lived experience” and she thinks that “something in the legal system is fundamentally broken.” It is hard to disagree. It becomes clear as we talk that this is a universal issue. 

In fact, figures released earlier this year showed that in the 12 months to September 2021, only 1.3% of the 63,136 rape offences recorded by police resulted in a suspect being charged.

“I think what consent runs through everyone’s relationship and what sexual entitlement is and when it should be called out. It can also happen to anyone. So, it’s about a huge change and a group of Barrister’s are going out to schools to talk about consent which is fantastic,” Miller says.

Prima Facie has partnered with The Schools Consent Project and has given away free tickets to 10 partner school groups so that teachers can bring students to see the show and access further ancillary support. Funds have also been donated to support the essential work the charity does to educate young people in the UK about consent.

Set up in 2014 by barrister Kate Parker, The Schools Consent Project is a charity that sends lawyers into schools to teach young people (11–18-year-olds) the legal definition of consent. Their aim is to normalise these sorts of conversations; to empower young people to identify and communicate boundaries, and to respect them in others. To date, they have worked with over 20,000 young people across the country.

Jodie Comer in Prima Facie © by Helen Murray

Miler believes a rich cultural education is key to changing the world: “It’s fundamental,” she tells me. “Theatre is the town square. It is so important – people can pretend to be other things, whilst an audience breathes in the same emotional mist. I feel like it offers a way of interpreting the world. A writer’s job is to show the paradox of being human. I went to law to change the world and now in theatre I still want to do that and make a difference.” 

So which writers inspire her? “Well, growing up I read a lot of Shakespeare. I was mentored by Edward Albee early in my career. All hail mighty Edward. Dennis Kelly, Mike Bartlett, Caryl Churchill and Maria Irene Fornes,”

Looking to the future, Comer will reprise her role in Prima Facie on Broadway. It will have a limited engagement at one of New York’s Shubert theaters, with the exact venue and dates to be announced. “It has been an absolute privilege to tell Tessa’s story here in London over the past few months and to now have the opportunity to take Prima Facie to New York is a dream come true,” said Comer in a recent statement.

With Prima Facie playwright Suzie Miller on Opening Night

In conversation Miller is as tranquil and delightful as she is compellingly eloquent. You’re relatively productive, I add. What’s your secret? “Don’t give up,’ she says quickly. “If you feel passionate, just keep doing it. There will be knocks and hardships and it is easy to give up along the road. But keep going, you will see it all come together.”  

Prima Facie is released to cinemas around the world via NT Live and in association with Sky Arts on Thursday 21 July 2022.

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Streams ahead: NT LIVE

National Theatre Live is invaluable. You could be forgiven for raising an eyebrow at the notion of a “broadcast theatre performance” in a cinema. Since launching, NT Live broadcasts have been seen by an audience of over 7 million people. The first season began in June 2009 with the acclaimed production of Phédre starring Helen Mirren. Recent broadcasts include Follies, Angels in America, Who’s Afraid of Virginia Woolf? and Hedda Gabler.

Upcoming broadcasts include Cat on a Hot Tin Roof starring Sienna Miller and Jack O’Connell and Julius Caesar featuring Ben Whishaw. The National broadcast some of the best of British theatre to 2,500 venues in 60 countries around the world including over 700 hundred in the UK.

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Obviously, it’s better to be in the theatre, that goes without saying. Nevertheless, it is true that it is much better to sometimes sit in a cinema in comfort, with a drink in your hand than it is to sit in the worst seat in a theatre. Seats in some theatres are bloody terrible. There are some seats at the top level of The Barbican where you can see more of what is going on in the wings that what is happening on the stage.

It is worth remembering that not everyone has a theatre on their doorstep. In general, NT Live is the most revolutionary thing to happen to the theatre in our lifetime because theatre, which is often condemned as elitist, is now available to anyone who wants it – anywhere: If you can get to a cinema you can see the best of theatre –  at a fraction of the price.

NT Live screenings are a welcome addition to the local Odeon or Picture House for any culture vulture. But they are no alternative. That doesn’t mean it’s not amazing, it just means we need to focus on the future but not lose sight of the value of live performance.

I attended the ‘studio audience’ for the NT Live broadcast of Follies from the theatre. There were rows of seats blocked off in the stalls, with cameras flying overhead and the lighting ever so slightly adjusted for film. It was a wonderful experience and the spectacle of the production carried across to film remarkably well. 

Anyway, I put some questions to the NT Live team and they cleared up some queries that I had, which was ideal.  (You’re welcome)

What is NT Live? 

National Theatre Live started in 2009 as a way to increase access to our work for those audiences who might not have the opportunity to see it. It was initially conceived for UK audiences but the response was so positive, we started screening internationally too. We currently screen to 2500 venues in 60 countries, 700 of which are in the UK which is around 90% and the same as a Hollywood blockbuster.

Our first broadcast was Phedre with Helen Mirren which was seen by over 50,000 people. Our single biggest broadcast is Hamlet with Benendict Cumberbatch which has been seen by more than 800,000 people. Our current worldwide audience is almost 8 million

Who owns it and where are the NT Live offices?

It’s run and managed by the National Theatre and the NT Live team are based at the National Theatre building.

Cat on a Hot Tin Roof

Cat on a Hot Tin Roof captured live at the Apollo Theatre during its West End run on February 22

Who are NT Live personnel? 

There are a dedicated number of people who work on NT Live across production, distribution, marketing and press. We work with a freelance team of operators across cameras, sound and lighting for the broadcasts themselves. The Bridge are using NT Live to broadcast Julius Caesar. The team at the Bridge are great friends of ours. Nicholas Hytner is our former director and Nick Starr former executive director here. We hope to broadcast more of their productions in the future. Working with other theatres has been part of the NT Live programme since our second year and supports us in bringing the best of British theatre to cinema audiences.

Is it a stand-alone live broadcast company?

NT Live is run and managed by the National Theatre.

Does it get public funding?

Our pilot season in 2009 was made possible by seed funding from Arts Council England and NESTA (National Endowment for Science, Technology and the Arts) and subsequently through a mix of National Theatre investment and sponsorship. We also have a partnership with Sky Arts which is a year old but has been a great success in its first year and we’re looking forward to see where it will go next.

Can any theatre pay for it and use it? e.g. The Globe.

The Globe and ENO already broadcast their own shows which they organise themselves, this means working with other theatres in London We regularly work with other London theatres including the Young Vic, The Old Vic and the Donmar Warehouse as well as other West End producers. We really enjoy working with other theatres and getting to show their great productions to cinema audiences around the world.

How about a regional theatre?

We have worked with Complicite to broadcast A Disappearing Number live from Theatre Royal in Plymouth as well as Manchester International Festival to broadcast their production of Macbeth with Kenneth Branagh. We also broadcast Of Mice and Men on Broadway, broadcasting more regional theatre is something we’re keen to do more of in the future. Some find it confusing that it has the name NT Live. It both gives it prestige and seems to limit it. What particularly excited us about this concept was the fact that it was captured and broadcast live and that’s why the live is there.  

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Imelda Staunton who plays Sally Durrant and Janie Dee who plays Phyllis Rogers Stone waiting to go on stage © Ellie Kurttz

 How are cinema prices decided?

Each cinema chain decides on pricing according to their individual pricing plans.

How do Encore Screenings work?

We programme Encore screenings as a way for audiences to access our productions at more convenient times but also so we are able to give more opportunities to see our most popular broadcasts.

How are the age ratings given?

We are subject to BBFC ratings in the UK and provide the broadcasts to them for classification. They also provide guidance for our live broadcasts based on information we provide to them ahead of the broadcast taking place.

So there we have it. 

Cat on a Hot Tin Roof captured live at the Apollo Theatre during its West End run on February 22, Julius Caesar live from the Bridge Theatre on March 22 and Macbeth live from the National Theatre on May 10

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Five Things You Should Know About Follies

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1.    Let’s cut to the chase: Follies contains some of the greatest performances I’ve ever seen in a musical.

It features Stephen Sondheim veterans Philip Quast, Imelda Staunton and Janie Dee. Most incredible of all, the way this sparkly ensemble revisit their former lives from 30 years ago to when they first met while working as Follies dancers. The ghosts of the past send shivers up your spine. Also, Tracie Bennett in particular steals the show on a few occasions in a hall of mirrors for all shades of misery

2.    With a near 30-year history and a world-class reputation, Sondheim shows are no strangers to the National Theatre (Judi Dench appeared in ‘A Little Night Music’ in the Olivier, 1995 and Philip Quast in ‘Sunday in the Park With George’ in the Lyttelton Theatre, 1990 etc, etc and so on).

It’s hard to avoid the fact that most of Follies’ action takes place on a stage revolve resembling a merry-go-round in West Side Story. The beauty of this show lies in the precision that draws the multi-layered elements together.

3.    There are incredibly few directors who could carry off at least three quarters of this show. Dominic Cooke’s production for the National Theatre has kept the songs in the faithful style – the orchestra are sublime – but when Imelda delivers a refreshingly devastating low-key version of ‘Losing My Mind’, it’s the night’s highlight. A haunting exploration of character.

This is an inventively staged production with a cast and the arrangements are of a phenomenally high standard. As well as being expertly written the majority of these songs are also skilfully structured and only serve to reaffirm Sondheim’s Godlike genius.

 

4.    The choreography itself is beautiful, reflecting the sorrow, torment and human resilience in both the music and the performances. Everything slots perfectly into place in this magnificent evocation of showbiz. Sweeping across the stage are buckets of Swarovski crystals, sashes, sequined frocks and outfits that reel you in from start to finish.

This is the first time Dominic Cooke has directed a musical. Luckily, there’s a clarity of vision that’s practically unrivalled in the current musical theatre scene. Follies feels effortlessly enchanting.

5.    Vicky Mortimer’s show-making set and costume design uses a crumbling theatre on a revolving set to remind us how the characters’ lives are confined and ravaged by theatre; Bill Dreamer’s vivid choreography, deserves a mention again, his work with ‘Loveland’ pays hymn to the showbiz past; and the orchestra has a glorious, brassy ring.

The production’s centrepiece – to these eyes, anyway – is ‘I’m Still Here’, a track for which Apple Music single song repeat function could well have been invented. A dazzle to watch. 

But the show is not perfect and I can see people’s concerns about Imelda’s suitability as a ‘Showgirl’ or that her vocals may be underpowered. They are missing the point; these things add to the charm of the production. The no interval thing is a bit crap….

Nevertheless, nothing is left to chance here, folks.

I make that a considered, authoritative and concrete 9/10. Also: Looks like my work here is done. Time to go to the pub.

Follies runs in the Olivier Theatre at the National until 3 January.

‘FYI’ Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16 November.

The National Theatre Live line up – No Man’s Land, Saint Joan and Hedda Gabler

Following a celebrated run on Broadway and a UK tour, No Man’s Land by Harold Pinter, with Ian McKellen and Patrick Stewart will be broadcast from Wyndham’s Theatre on 15 December.  Produced by Playful Productions.

Josie Rourke’s production of Bernard Shaw’s Saint Joan, with Gemma Arterton, will be broadcast from the Donmar Warehouse on 16 February.

Ivo van Hove’s production of Hedda Gabler by Henrik Ibsen, in a new version by Patrick Marber, and with Ruth Wilson in the title role, will be broadcast from the NT on 9 March.

For venue information and booking details, please visit ntlive.com