Time for Indhu’s National
Harold Pinter always said to me: ‘Always be you. Everyone else is taken” - Danny Dyer on Desert Island Disks
In this edition:
New Season at The National announced
Reviews of An Oak Tree, The Brightening Air and Marie and Rosetta
The New National Era
Indhu Rubasingham, the National’s new head, presents her initial programme: a substantial slate of sixteen productions, notable for nine new commissions and the significant return of a repertory system. It's a structural ambition that past reformers of the institution might well have regarded with marked interest.
The season will feature names of considerable current appeal – Paul Mescal, Nicola Coughlan, Letitia Wright, Stormzy– enlisted, one hopes, not merely for more starry screen nameyness but to engage with demanding roles that will genuinely test their talents. Artistically, the stated ambition is to cultivate a “modern mainstream”. This appears to mean a dynamic interplay between established plays - which will doubtless be re-examined through fresh adaptations and casting - and the immediate concerns of new writing. Whether this results in a truly vital fusion of the classic and contemporary or perhaps a more intellectually refined populism remains to be seen. The proof will be in the playing.
That this institution is now led by a woman, and a woman of colour, is a significant development in its history, far exceeding mere statistical interest. There is, understandably, a palpable sense of anticipation surrounding this new era, blending high expectation with keen industry curiosity. This programme is clearly intended as a statement. The pressing question now is whether this iteration of the National will indeed prove to be truly national in scope, genuinely audacious in its choices, and, ultimately, critically necessary to our cultural life.
Here’s the season broken down:
Bacchae:
This new play by debut playwright Nima Taleghani will premiere on the Olivier stage in September 2025, directed by Indhu Rubasingham.
Hamlet:
Robert Hastie will direct this production in the Lyttelton Theatre in autumn 2025, featuring Hiran Abeysekera in the title role.
The Playboy of the Western World:
John Millington Synge’s classic will be staged in the Lyttelton, directed by Caitríona McLaughlin of the Abbey Theatre with a reunion of cast members from Derry Girl: Siobhán McSweeney, Nicola Coughlan, and Éanna Hardwicke.
Ballet Shoes:
Kendall Feaver’s adaptation, directed by Katy Rudd, will return to the Olivier stage for the 2025 festive season.
The Jungle Book:
A new adaptation by Anupama Chandrasekhar, directed by Indhu Rubasingham, will be presented in the Olivier for Christmas 2026.
The Story:
Tracey Scott Wilson’s play will have its British premiere in the Olivier, directed by Clint Dyer. Letitia Wright will make her National Theatre debut in this production.
Les Liaisons Dangereuses:
Christopher Hampton’s adaptation returns to the National Theatre in a production directed by Marianne Elliott, starring Aidan Turner and Lesley Manville,
Cloud 9:
Dominic Cooke will direct Caryl Churchill’s play, marking the playwright’s return to the National Theatre for the first time since 2019.
A Whistle in the Dark
Directed by Caitríona McLaughlin (Translations), in a co-production with the Abbey Theatre starring Paul Mescal
Death of a Salesman
Mescal, in rep, will also take on the role of Biff, directed by Rebecca Frecknall.
Pride (musical):
A musical based on the 2014 film will be presented in the Dorfman.
The Authenticator:
Winsome Pinnock’s new play, directed by Miranda Cromwell, will be staged in the Dorfman and explores family history and political legacies.
Samira:
Carmen Nasr will make her National Theatre debut with this play in the Dorfman, inspired by the story of a Syrian blogger and originally commissioned by Kiln Theatre.
Man and Boy (2026):
Terence Rattigan’s play will be staged in the Dorfman in 2026, directed by Anthony Lau and starring Ben Daniels.
A Punchdrunk Piece and a Stormzy Production - TBC
New Hot Fringe Venue
Fleabag and Baby Reindeer producer Francesca Moody has launched a new Edinburgh Festival Fringe venue that promises to "reimagine" the model for paying and supporting artists. A new 100-capacity venue, Shedinburgh, will debut at this August's festival, featuring exclusive one-night performances from a mix of well-known fringe acts, famous personalities and emerging talent. Confirmed performers include comedians Mark Watson and Ivo Graham, Six creators Toby Marlow and Lucy Moss, and Olivier-winning actor Maimuna Memon, with the complete schedule expected later this month.
To Book
Stereophonic at Duke Of York’s Theatre until October 11th
Get ready for the arrival of a theatrical heavyweight: the most Tony Award-nominated play in history lands in the West End next week. This David Adjmi-penned drama, with a score by Arcade Fire's Will Butler and direction from Daniel Aukin, transports audiences to a late 1970s recording studio. The story centres on the turbulent dynamics of a famous five-member British-American rock band that bears a striking resemblance to Fleetwood Mac.
The Weir at The Harold Pinter 12th September to 6 December
Brendan Gleeson (The Banshees of Inisherin and In Bruges) will make his West End debut in a new production of The Weir. The play's acclaimed writer, Conor McPherson will direct this work for the first time. Set in a rural Irish pub, The Weir sees local men share unsettling stories to impress a newcomer, Valerie, only for her own tale to deeply affect them all. It’s a powerful exploration of human connection and the enduring strength of storytelling.
Every Brilliant Thing @sohoplace 1st August - 27th September
Every Brilliant Thing will run in the West End for a limited spell at @sohoplace this summer. Written by Duncan Macmillan with Jonny Donahoe, Every Brilliant Thing originally premiered at Paines Plough’s Roundabout at Summerhall in Edinburgh in 2014- it was on at last year’s Fringe and I loved it.
Told from the perspective of a child who begins making a list of life’s joys for their mother amid her struggles with depression, the play spans decades, showing how the list shapes their own life. A rotating cast of guest performers will lead the show across the run, including Lenny Henry (dates from 1 to 30 August), Donahoe (dates from 13 August to 1 September), Ambika Mod (dates from 2 to 26 September), and Sue Perkins (dates from 4 to 27 September).
Othello at Theatre Royal Haymarket
Tom Morris will direct a cast featuring David Harewood as Othello, with Toby Jones as Iago and Caitlin FitzGerald as Desdemona and will have music by PJ Harvey. Harewood returns to the role after being the first Black actor to play Othello at the National Theatre in 1997.
Reflections
An Oak Tree
Tim Crouch’s "An Oak Tree," an intriguing theatrical experiment now marking a double decade of performances, has taken up residence at the Young Vic. The premise is distinctive: Crouch plays a hypnotist who, in the narrative, has accidentally killed a child. Each night, he performs opposite a different actor playing the child’s father - an actor who arrives entirely unrehearsed, having never seen the script. This high-wire act has, over the years and across various countries, attracted a starry list of guest participants, from Frances McDormand to Peter Dinklage. For this London run, the guest on the night I attended was Luke Thompson, familiar to many from the popular series Bridgerton.
Its reputation suggested an eloquent meditation on the nature of theatre and the mechanisms of grief, yet An Oak Tree in practice feels disappointingly under-developed, its emotional impact curiously muted. The spartan set - red sliding doors, scattered chairs - resembles a workshop or rehearsal space more than a site of profound drama, save for a deliberately out-of-place piano stool. Crouch, as the hypnotist, sports the waistcoat of a slightly faded magician, while his guest actor wears standard rehearsal blacks, a visual pairing that feels more expedient than thematically resonant. The concept itself holds a certain intellectual allure, echoing Pirandello in its play on reality and performance. However, the production's significant weakness lies in Crouch’s script. For a piece banking on the live, unprepared spark between performers, the text often feels strangely inert, even restrictive. Repetitive dialogue induces not tension but a creeping tedium, and its occasional forays into poetic language sit awkwardly with the otherwise pedestrian tone. While simplicity can be a theatrical virtue, here it veers towards the simplistic, underestimating both the actors' improvisational capabilities and the audience's engagement.
As the guest, Luke Thompson offered a rather hesitant, diffident presence. The frisson expected from the unprepared actor confronting the material never quite materialised, his performance rarely igniting the necessary dramatic friction. One couldn't help but feel somewhat short-changed, particularly when recalling reports of other, perhaps more dynamically suited, actors who have previously tackled this unique challenge. Ultimately, An Oak Tree feels like a theatrical experiment whose time has passed.
The Brightening Air
Conor McPherson's new play, The Brightening Air, aims for some big ideas, but doesn't quite hit them. The title comes from a W.B. Yeats poem and is supposed to be about that moment "where dreams meet reality and our most important illusions fade away." That sounds pretty deep, but the play, a family drama that often goes for big laughs, doesn't really explore it fully. McPherson says he was inspired by Chekhov's Uncle Vanya, especially after he couldn't see his own version of it due to Covid. But the only thing that feels like Chekhov here is the basic setup: a family gathered in a country house. The play is set in 1980s Ireland and tries to mix magic and folklore with everyday life. But the everyday stuff – especially the arguments and fights – ends up being the main focus, often in a very funny way. Chris O’Dowd makes a welcome return to the stage, playing Dermot, a heavy-drinking, argumentative character, and he's fantastic from the moment he walks in. He really shakes things up for his quieter brother Stephen (played by Brian Gleeson, another talented member of the Gleeson family) and his blunt sister Billie (Rosie Sheehy whoI found little too histrionic).
Then there are other characters thrown in, like their blind uncle priest with some unusual ideas about God, and Dermot’s much younger girlfriend who might (or might not) be a witch. It all adds up to a comedy-drama where insults and even punches fly. There’s a hint that something magical is happening around the characters, but it never quite becomes clear. Even McPherson admits he’s not sure if he got the balance right between the folklore and the family drama. Sadly I don’t think he did but at least he tried!
Marie and Rosetta
Set against the backdrop of Mississippi in 1946, George Brant's play portrays the pioneering spirit of Sister Rosetta Tharpe, a gospel singer who dared to electrify the genre with her infectious rhythms and groundbreaking guitar skills. The narrative follows Rosetta's bold endeavor to recruit the gifted young quartet singer, Marie Knight, for a tour across the deeply segregated American South.
The play, in a production expertly directed by Monique Touko, unfolds within the unconventional confines of a funeral parlor. This poignant setting serves as a stark reminder of the era's harsh realities, as such establishments often provided the only available lodging for Black performers who were systematically denied accommodation in hotels under Jim Crow laws. It is here, amidst coffins and the somber atmosphere, that Rosetta and Marie hold their first rehearsal, a meeting of two powerful talents that would shape the course of music history. While Rosetta's fusion of gospel with the blues and her performances in nightclubs drew criticism from traditional churchgoers, her vision was to push boundaries and share her unique sound. The play delves into her efforts to convince the initially more reserved Marie to embrace a new, more swinging style. Ntombizodwa Ndlovu as Marie Knight and Beverley Knight as Rosetta Tharpe are a fabulous duo - their electric chemistry and stunning vocal abilities leave the audience reeling.