Michael Grandage directs Emma Corrin in Neil Bartlett’s joyous new adaptation of Virginia Woolf’s modern masterpiece – Orlando. Leading an eleven-strong company in a bold new staging, Olivier Award nominee Emma Corrin returns to London’s West End in one of the most surprising stories in the English language.
On the surface it might seem impossible to adapt Orlando for the stage, but Neil Bartlett and director Michael Grandage have achieved a warm and witty play that is also a welcome antidote to today's culture wars.
Orlando, Neil Bartlett’s new version of Virginia Woolf’s novel, opens at the Garrick Theatre on 5 December 2022, with previews from 25 November, and runs until 25 February 2023. Michael Grandage directs Emma Corrin in the title role. Get a first look at the cast in rehearsals here!
The full company has been announced for Orlando – joining Emma Corrin, in the title role, are Deborah Findlay (Mrs Grimsditch), Jessica Alade (Virginia, Drunken Tory), Debra Baker (Virginia, Favilla, The Captain), Akuc Bol (Virginia, Euphrosyne, Prue), Lucy Briers (Virginia, Queen Elizabeth, Officer), Richard Cant (Virginia, Harriet, Kitty), Melissa Lowe (Virginia, Drunken Tory), Jodie McNee (Virginia, Marmaduke), Oliver Wickham (Virginia, Clorinda), and Millicent Wong (Virginia, Sasha, Nell).
The filmed performance of Angels in America Part One: Millennium Approaches and of Part Two: Perestroika will be added to the National Theatre Collection 2 on Drama Online in February alongside eight new films announced in November.
The film stars Josh O’Connor (The Crown, God’s Own Country) as Romeo and Jessie Buckley (Chernobyl, Judy) as Juliet, and will be available to screen across the UK and Ireland.
The thing about Romeo and Juliet – but you know this, Grasshopper – is that it isn’t a love story – not at all, not even a little bit. It is rather a story of desperation, ego and self-regard. Juliet is a thirteen-year-old girl who has just been given the alarming news that she will be forced to marry a man she’s never met.
Golden Globe winner and star of 'The Crown Josh O'Connor and 'Fargo' star Jessie Buckley lead the original film for television by The National Theatre, Great Performances: Romeo & Juliet, which premieres tonight, Friday, April 23 at 9 p.m.
Simon Godwin’s much-hyped version of Romeo & Juliet at the National Theatre was originally slated for summer 2020. Not to be outdone by the pandemic, a new version was filmed in just seventeen days on a closed set in the Lyttleton theatre and is now being broadcast on Sky Arts. Combining elements of both stage and screen, this is a unique and magical version of Shakespeare’s iconic play.
An original film for television by the National Theatre, Great Performances: Romeo & Juliet premieres Friday, April 23 at 9 p.m. on PBS, pbs.org/gperf and the PBS Video app.
A first-look image has today been released for the National Theatre’s Romeo & Juliet, a feature film for broadcast on Sky Arts and PBS this April. The image features Romeo, played by Josh O’Connor (The Crown, God’s Own Country) and Juliet, played by Jessie Buckley (Chernobyl, Judy), as they meet by moonlight at Juliet’s balcony. The image was taken during filming at the National Theatre.
The National Theatre's new filmed version of Romeo & Juliet for television is coming soon! The play was originally to have played to theatre audiences in the NT's Olivier auditorium from Summer 2020.
The National Theatre has today announced it is creating a new filmed version of Romeo & Juliet for television, temporarily transforming the vast stage spaces of its Lyttelton theatre into a film studio to capture Shakespeare's timeless play for a new generation of audiences.
Director of the Donmar Warehouse production Coriolanus caught up with cast members Tom Hiddleston and Deborah Findlay to chat dressing room discos, why theatre matters to them, and Tom's quickest ever costume change.
To take a play as epic in scale as Coriolanus and find a natural home within the intimacy of London's Donmar Warehouse take a skill and lightness of touch that is not only rare but all so often missed. Director Josie Rouke has sliced through a lot of the sound and most of the fury to get to the very heart of Shakespeare's tragedy.