Have always gotten so much pleasure out of going to see the National Theatre Live screenings at the cinema. There is a real sense of authenticity in the auditorium despite seeing it much more accessibly. They are also a great opportunity to see a lot of familiar plays, often favourites, with enormously talented casts, and they are an equally great opportunity to discover plays completely unfamiliar to one beforehand.
That was the case with both parts of 'Angels in America', the first part being 'Millenium Approaches' and the second 'Perestroika'. Just doing one part rather than both is a mammoth task by itself. Doing both parts, and with the same cast for continuity, is even more of a Herculean undertaking. Was not familiar with either 'Angels in America' part before seeing the screenings and am so glad about seeing them. Both parts are must sees as are the productions of both, an enormous amount had to be taken on and both did so brilliantly.
While 'Perestroika' is a touch more imaginative in scope and visuals perhaps, to me 'Millenium Approaches' is a little tighter in pace and more taut structurally despite being more talky in dialogue. They are equal in the performances and staging fronts though. Really appreciated that both parts make a difficult and sensitive subject accessible to anybody who wasn't born during the period depicted, or like me just missed it, and also make it remarkably relevant. It is a very serious and brave subject treated with respect and both productions managed to make something entertaining, moving and imaginative out of it without distaste coming through.
'Millenium Approaches' may not be as visually striking as 'Perestroika', but it manages to have the right amount of not going over the top that it becomes overblown or being so minimal it looks under-budgeted. The dialogue provokes a lot of thought and amuses, moves and intrigues. It is a long play but it never feels it, with the pace being tight without feeling have-a-train-to-catch rushed. The stage direction never falls into distaste or irrelevance and manages to make the storytelling and subject accessible while not trivialising, the emotional impact is felt.
All the performances are superb, with James McArdle, Denise Gough and Russell Tovy portraying their conflicted characters with heartfelt charisma, Gough in particular.
Two in particular stood out. Andrew Garfield as the most developed character of both parts brings the right amount of camp and anguish. Most surprising was Nathan Lane, absolutely chilling as Cohn and proving that he can do more than just comedy.
In conclusion, outstanding. 10/10
That was the case with both parts of 'Angels in America', the first part being 'Millenium Approaches' and the second 'Perestroika'. Just doing one part rather than both is a mammoth task by itself. Doing both parts, and with the same cast for continuity, is even more of a Herculean undertaking. Was not familiar with either 'Angels in America' part before seeing the screenings and am so glad about seeing them. Both parts are must sees as are the productions of both, an enormous amount had to be taken on and both did so brilliantly.
While 'Perestroika' is a touch more imaginative in scope and visuals perhaps, to me 'Millenium Approaches' is a little tighter in pace and more taut structurally despite being more talky in dialogue. They are equal in the performances and staging fronts though. Really appreciated that both parts make a difficult and sensitive subject accessible to anybody who wasn't born during the period depicted, or like me just missed it, and also make it remarkably relevant. It is a very serious and brave subject treated with respect and both productions managed to make something entertaining, moving and imaginative out of it without distaste coming through.
'Millenium Approaches' may not be as visually striking as 'Perestroika', but it manages to have the right amount of not going over the top that it becomes overblown or being so minimal it looks under-budgeted. The dialogue provokes a lot of thought and amuses, moves and intrigues. It is a long play but it never feels it, with the pace being tight without feeling have-a-train-to-catch rushed. The stage direction never falls into distaste or irrelevance and manages to make the storytelling and subject accessible while not trivialising, the emotional impact is felt.
All the performances are superb, with James McArdle, Denise Gough and Russell Tovy portraying their conflicted characters with heartfelt charisma, Gough in particular.
Two in particular stood out. Andrew Garfield as the most developed character of both parts brings the right amount of camp and anguish. Most surprising was Nathan Lane, absolutely chilling as Cohn and proving that he can do more than just comedy.
In conclusion, outstanding. 10/10