London’s National Theatre Announces 2007 Season

News   London’s National Theatre Announces 2007 Season
 
London’s National Theatre has confirmed details of its early 2007 productions.

A revival of Samuel Beckett’s Happy Days — directed by Deborah Warner and starring Fiona Shaw — returns to the Lyttelton stage Jan. 24, 2007, following previews from Jan. 18. Written in 1960, Beckett’s play was the Lyttelton’s first production in 1976.

The National’s Olivier stage will host artistic director Nicholas Hytner’s production of George Etherege’s Restoration comedy The Man of Mode, which opens Feb. 6 following previews from Jan. 29.

The Cottesloe Theatre, meanwhile, reunites director and playwright with Richard Eyre’s world-premiere production of Nicholas Wright’s The Reporter. Featuring stage and screen actor Ben Chaplin (This Is How It Goes and on Broadway in The Retreat From Moscow) in his National debut, the play, about the suicide of BBC reporter James Mossman, opens Feb. 21 following previews from Feb. 14.

It was at the Cottesloe that Eyre, a past National Theatre artistic director, directed the premiere of Wright’s Vincent in Brixton, which subsequently transferred to the West End and Broadway.

The National’s Travelex-sponsored £10 ticket scheme has been extended from the Olivier to the Lyttleton, where a revival of Martin Crimp’s Attempts on Her Life opens March 14, with previews beginning March 8. First seen at the Royal Court ten years ago, Crimp’s 17 scenarios for theatre, directed at the National by Katie Mitchell, focuses on such late 20th-century obsessions as pornography, ethic violence and terrorism. On the same stage Athol Fugard’s groundbreaking, risk-taking South African play Sizwe Banzi Is Dead arrives on March 21, following two days of previews. Created by Fugard, John Kani and Winston Ntshona, the play was a watershed in apartheid South Africa where collaborations between white and black theatre practitioners were rare. This production, which originated at South Africa’s Baxter Theatre Centre, sees Kani and Ntshona re-create the roles they originated in 1972.

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