🎭🎭🎭
National Theatre at Home is such a wonderful thing that exists. I have been to the theatre and enjoyed the experience of a live performance, but it’s also expensive. And to see a lot of popular things, it’s all about getting to London, which is, you guessed it, expensive. And there are feelings that I don’t want to feel in a room full of strangers. I’m an ugly crier with anxiety, so having this media available to consume in my own home is beautiful.
The theatre is such a resilient force, we saw that following Covid, so just give us the pro-shots!!
Anyway, I thought it would be fun to try to do an A-Z challenge with the plays that are available on National Theatre at Home. The catalogue does go through changes, but it has quite a big offering.
Waitress: The Musical (2023)
Director: Brett Sullivan
Writer(s): Jessie Nelson, Sara Bareilles (music and lyrics)
Rating: ⭐⭐.5
“Featuring composer-lyricist Sara Bareilles as Jenna Hunterson, a waitress and expert pie maker stuck in a small town and a loveless marriage.
When a baking contest in a nearby county offers her a chance at escape, Jenna fights to reclaim a long-forgotten part of herself.”
I was so excited when Waitress: the Musical was put on NTaH as I wanted to love this so much, but I didn’t.
All the songs were great, and the set design was fun and utilised the space well. But for the most part, I was just bored. I know that we’re watching a woman who has been continually suppressed from doing things for herself, but I didn’t fully enjoy the journey she took to do that.
I didn’t really enjoy any of the relationships, be they the affairs or the ‘love’ story between Dawn (Caitlin Houlahan) and Ogie (Christopher Fitzgerald), which I found mostly just uncomfortable.
I wish there was more of a focus on the trio friendship of Jenna (Sara Bareilles), Becky (Charity Angél Dawson) and Dawn.
Vanya (2024)
Director: Sam Yates
Writer: Simon Stephens
Rating: ⭐⭐
“Andrew Scott brings multiple characters to life in Simon Stephens’ radical new version of Chekhov’s Uncle Vanya.
Hopes, dreams, and regrets are thrust into sharp focus in this one-man adaptation which explores the complexities of human emotions.”
I know nothing about Anton Chekhov’s 1897 novel, but considering the play I just watched, he’s like a lot of classic male authors and was a fan of family drama.
I have also learned that a ‘one-man show’ with multiple characters is not for me – it was a bit uncomfortable and awkward. Andrew Scott was fantastic, however, I couldn’t help but struggle to connect with the story and characters. Often I felt unable to distinguish some of the male characters, especially when the conversation was at a quick pace.
The plot itself was interesting and emotional, but it didn’t feel developed enough to truly be impactful. I wish Uncle Vanya had more integration into the plot through the earlier stages to warrant the ending, but then again, he might have and I just didn’t realise.
Bacchae (2025)
Director: Indhu Rubasingham
Writer: Nima Taleghani
Rating: ⭐⭐⭐⭐
“Fierce and unstoppable, the Bacchae are a chorus of wild energy ready to shake Thebes to its core – and liberate its women.
But their god Dionysos has his own reckoning. In a showdown with his cousin, King Pentheus, family loyalty, political power and human desire are pushed to breaking point.”
Bacchae is an adaptation of Euripides’ tragedy The Bacchae (405 BCE).
This was incredible! The set design was simple, but used in such a fluid way that enhanced the performances. The humour and language was so British and fun, and really came full circle with the message about the concept of the theatre.
Vida (Clare Perkins) is an absolute joy to watch. She is powerful and takes up space in such a glorious way on stage. Every performance from each of the Bacchae women and Agave (Sharon Small) were wonderful and well developed over the course of the 1hr 50mins runtime.
Ukweli Roach and James McArdle as Dionysus and Pentheus were great and I loved their on stage chemistry. This play is as much about revenge as it is family and the integration of humour and tragedy works so well. The crudeness never belittled the emotional impact of the events that come to pass and that’s on great storytelling.
Antigone (2012)
Director: Polly Findlay
Writer: Don Taylor
Rating: ⭐⭐⭐
“The new King Creon is desperate to gain control over a city ravaged by civil war and refuses to bury the body of Antigone’s rebellious brother. Outraged, she defies him and honours her brother. Creon takes action against her, risking the wrath of the gods.”
Antigone is a modern retelling of Sophocle’s tragedy (c.440 BCE) wherein Antigone goes against the decree of her Uncle Creon which creates a snowball of tragedy.
The first 50 minutes of this play were boring. The dialogue, lighting, effects and just general pace was a struggle. However, after the 50 minute mark, once Haemon (Luke Newberry) has somewhat set in motion his destiny, the pace and emotion deepened.
Christopher Eccleston and Jodie Whittaker as Creon and Antigone were great. There was a sarcastic humour to Creon at times that spoke to his ego and stubbornness, while Antigone was passionate in her own justification. Their moments on stage together were great.
I also want to mention that Jamie Ballard as Tiresias was fantastic. The intensity of his delivery was my favourite part of this play.
A-Z Board
The board I’m using is a variation of the one made by Sarah (Freshly Read Books) for her mashup of HRCYED 1+2 she started last year.
Thanks for reading! I hope you’re having a lovely day and staying safe ❤️
DramaRambles 🌸 
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