after the dance national theatre

Nancy Carroll is almost unbearably moving as the apparently jolly and resilient Joan Scott-Fowler who has never quite dared to reveal to her husband just how much she loves him. Entertaining and interesting, impeccably performed and produced, this is the perfect period piece. Cockpit Theatre, London. After the Dance, National Theatre . Here, though, some of us went away feeling muddy-headed irritation rather than sympathy at the end of a long evening.

Theatrically-themed gifts, inspired by our plays, our building and our friends. That might partly be ascribed to a script that thrusts forward melodrama when it needs truth, but a less than perfect Lyttelton ensemble didn't help. This provides a provocative insight into the Bright Young Things – that post-WWI, Bohemian generation – and in particular what happens to them in later life. But Rattigan, who had drunk and gambled away many of his own earnings from French Without Tears, also clearly empathised with his hero's innate fecklessness. The wealthy Scott-Fowlers have been giving parties for the last 12 years in their large but oddly comfortless London flat (ruthlessly evoked by the brilliant Hildegard Bechtler, even if she's used to grander and sometimes more abstract designs). Rating: * * * * *. Skip to main content. ( Log Out /  But Rattigan's encapsulation of a certain attitude needs to be made credible, and here the truthfulness flickered in only a few well-placed, devastatingly simple sentences (mostly delivered by Carroll). US election polls tracker: Will Donald Trump or Joe Biden win the 2020 presidential race? This site uses Akismet to reduce spam. Carroll captures the abyss between the mask and the reality chillingly: when she stands with her back to the audience you realise this is the first time we've seen anyone alone on stage and not giving a performance. Review – After The Dance, National Theatre – June 5, 2010 Posted in: london, review, theatre. The National Theatre’s contribution to the Terence Rattigan centenary celebrations is one of his least known plays, After the Dance. But Helen, an earnest young Oxonian, falls in love with David and vows to rescue him from his dissipation and turn over a whole forestful of new leaves: what she doesn't understand is his inherent spinelessness or the strength of his wife's unarticulated love. Thea Sharrock's revelatory production of Terence Rattigan's neglected After The Dance features first rate performances. There is no doubt that this is a revival to cherish. Having starting out by attacking the razzle-dazzle party-givers, Rattigan ends up by understanding that the real tragedy of characters such as David and Joan is their emotional inarticulacy: Joan, in fact, is the forerunner of all those later Rattigan figures who suffer through their inability to express their love. After the Dance is running at the National Theatre until August 11 th 2010. A pall of ennui hangs over the 1930s drawing room of the National’s latest Rattigan revival, as deadly as the boredom its burnt-out party people all dread. Connect with us .

And, among the satellites revolving around him, there is especially good work from Christine King as his misunderstood wife, Jennifer Vaal as the reforming Helen and Vanessa Rossini as the queen bee of the cocktail circuit. Three of the five leads in Thea Sharrock's production deal as well as they can with Rattigan's sometimes implausible psychology. It all glided into action timelessly enough, once we got past the unnecessary mood music and the audience's readiness to laugh uproariously at every line. Adrian Scarborough gives a funny and touching performance as the apparently parasitic friend, delivering one-liners with delicious aplomb while slowly revealing a deep sense of morality. National Theatre Poster Archive . There's a licensed jester -, Absolute Hell, National Theatre review - high gloss show saves over-rated classic, Rattigan's Nijinsky/ The Deep Blue Sea, Chichester Festival Theatre, Q&A: Director Terence Davies on The Deep Blue Sea, The Great Gatsby, Immersive London review – a warm and electric tribute to the book, Quarter Life Crisis, Bridge Theatre review – slender and superficial, Hermione Lee: Tom Stoppard, A Life review - the last word on a theatrical wordsmith, Nights in the Garden of Spain & Miss Fozzard Finds Her Feet, Bridge Theatre review - potent mix of pain and comedy, Playing Sandwiches & A Lady of Letters, Bridge Theatre review - the darkness dazzles, twice over, Sunnymead Court, Tristan Bates Theatre review - a lovely lockdown romance, An Evening with an Immigrant, Bridge Theatre review – poetic and engaging, The Cheeky Chappie, The Warren Outdoors review - entertaining drama about risqué comic Max Miller, The Shrine & Bed Among the Lentils, Bridge Theatre review - loneliness shared, with wit and melancholy, The Outside Dog & The Hand of God, Bridge Theatre review - gems of frustration and disquiet, Rose, Hope Mill Theatre online review - a performer at her peak, 'I loved being a dresser': Sir Ronald Harwood, Oscar-winning writer, dies at 85.

The would-be child bride is the stumbling block of the evening -  possibly of the play itself, since it's hard to imagine her clipped determination delivered in anything other than period cadences. Not everything in the play works: the intimations of war sometimes sit a little uneasily on a play based on acute psychological observation. They may not be young but they are still bright and a great source of comedy. Adrian Scarborough After the Dance Faye Castlelow Hildegard Bechtler Nancy Carroll National Theatre Pandora Colin Review Terence Rattigan Thea Sharrock Theatre. We can't help caring about the protagonist of a latter Rattigan drama, The Deep Blue Sea, as incarnated by Penelope Wilton and Harriet Walter. Written 9 June 2010 for The London Magazine, Your email address will not be published. The next scene, with Heffernan overdoing the alienation as the rejected suitor, is as unconvincing as Peter's "solution". Again, it's not clear to what extent we're supposed to dislike this manipulative outsider. Dominic Dromgoole is to direct the play in the autumn. After the Dance Benedict Cumberbatch appeared as David Scott-Fowler in the revival of Terrence Rattigan’s After the Dance at the National Theatre from June to August 2010. Share. Theatrically-themed gifts, inspired by our plays, our building and our friends.

You see, this lost chump is about to fall for every cliché in the book and straight into the arms of a young woman determined to put a stop to his cirrhosis-inducing drinking and half-hearted attempts at academic respectability. In part the play is the work of Rattigan the radical moralist who bitterly condemns the frivolity of the post-1918 generation.

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