Stage-to-screen review: Phèdre

A new year starts much as the old one ended, in lockdown and with theatres trying their best to remain not only above water financially, but alive in the public's minds. Most high-profile has been the National Theatre, which late last year launched a major new international streaming platform, NTatHome. Of their initial selection of shows available, I've already seen everything except their kids' offering I Want My Hat Back, but if I was going to revisit one I'd already seen and reviewed, Nicholas Hytner's Helen Mirren-starring production of Phèdre would seem the obvious choice: It dates from 2009, making it the oldest recording currently on the service, which means that with over a decade since seeing this live I can treat it more or less with fresh eyes (all I really remembered was that Dominic Cooper's attempt to give "Phèdre" the correct French pronunciation ended up with him repeatedly calling the leading lady "veg.")

Theatre review: The Libertine

PREVIEW DISCLAIMER: Despite already having had a full run in Bath, this doesn't seem to have invited the newspaper critics in yet.

A comedy about the Restoration, as opposed to a Restoration Comedy, although we do see something of that genre's creation in The Libertine, a 1994 play by Stephen Jeffreys first seen at the Royal Court and now getting a West End revival from Terry Johnson. George Etherege's best-known work The Man of Mode* is reputed to have been based on the real-life 2nd Earl of Rochester, John Wilmot, and it's Rochester (Dominic Cooper) that Jeffreys puts centre-stage, a favourite of Charles II (Jasper Britton) which is probably the only reason he managed to avoid execution. A regular at London's playhouses, except when he's been banished to the country for pissing off the king, at the start of the play Rochester returns from one such involuntary trip to find a new actress in town: Lizzie Barry (Ophelia Lovibond) is routinely booed off the stage for what, compared to the highly stylised acting style of the time, seem like incredibly unenthusiastic performances.