About Time You Saw: NT LiveBy Charlotte Collins
The lights dim on the wooden benches packed tightly around the stage, a metal framework structure containing simple household items. The rustle of programmes and coats simmers as the loud chatter hushes, and Blues music accompanies the actors as they drift onto the set. This is the repertoire at the beginning of A Streetcar Named Desire, which recently played at the Young Vic, and this was the case when I saw the play on Tuesday night. Only I wasn’t there. I was legs up, thumb in mouth (don’t tell anyone), popcorn at the ready in my local Vue cinema.
Image credit -Johan Persson
This was a part of the National Theatre initiative, NT Live, whereby stage productions are screened (live, obvs) into cinemas across the country. Not to sound like a dick, but I’m a pretty avid theatre goer. I like Shakespeare – sue me. I was therefore sceptical of this modern format: how would a play translate on the big screen? Film and television is a medium through which actors are acting for a screen, and only perform when they’re being filmed. In theatre, the actors are always ‘on’ – I was nervous the camera zoom would unintentionally edit out key elements of the production that happen for a reason and bring the piece together.
Image credit -Johan Persson
I was saved by a rotating stage. That’s a weird sentence. But as that metal framework spun slowly around, representing Blanche’s angst and lack of control, it became obvious that the movements and energy of the actors were often obscured by the structure for the audience themselves, depending on the angle of the set. This was a piece in which selective viewing was a feature, not a hindrance. In other parts, us cinema spectators were afforded a much better view of the action, with the wide pan showing us every perspective and the zoom displaying the incredibly passionate performance given by Gillian Anderson and co.
Image credit -Johan Persson
A cynic could argue that theatre is about the relationship between audience and actors, and that is killed by placing a screen and dozens of miles between the two. However there is a modern, pluralist argument for this kind of viewing. First, accessibility. I was able to book to see a sold-out show the day before and at a fraction of the cost. Second, surely the point of theatre is constant flux, adaptability and creativity? If modes of performance were never changed or modernised or rethought, we’d still be sitting around waiting for a troupe of all male players to appear in our local villages. Cinema screenings of plays is a combining of performance mediums to update and popularise theatre, for those who are already fans and those who might not usually think to visit a theatre production. This can only be a positive for the industry going forward.
In the coming months, NT Live will be screening two productions of Danny Boyle’s Frankenstein starring either Jonny Lee Miller or Benedict Cumberbatch. Make your choice, depending on who you’re more interested in seeing practically naked. Personally, I’m a Cumberbatch girl, so I’ll be there, thumb and popcorn at the ready, devouring London’s best theatrical offerings from the comfort of my local cinema.
