New Carlton, Okehampton

A young boy learns that he has extraordinary powers and is not of this Earth. As a young man, he journeys to discover where he came from and what he was sent here to do. But the hero in him must emerge if he is to save the world from annihilation and become the symbol of hope for all mankind. -- (C) Warner Bros

"The Hangover Part III" is the third and final film in director Todd Phillips record-shattering comedy franchise. This time, theres no wedding. No bachelor party. What could go wrong, right? But when the Wolfpack hits the road, all bets are off. (c) WB

This important new staging of Gloriana marks three major anniversaries: 60 years since the Queen's Coronation, 60 years since the opera's premiere at the Royal Opera House and the centenary of Benjamin Britten's birth. 

Britten's portrait of the public and private faces of Elizabeth I is a brilliant depiction of the Tudor court and the tension between affairs of state and affairs of the heart. Award-winning director Richard Jones directs a Gloriana for our time and a superlative British cast brings to life this under-appreciated gem, a unique tribute both to the nation's monarch and to its greatest opera composer.

Starring
Susan Bullock and Toby Spence
 
Composer
Benjamin Britten
 
Conductor
Paul Daniel
 
Director
Richard Jones
 
Production Information
Live opera in three acts
Sung in English
Subtitles: English
Running time approximately 180 minutes
Includes two intervals

Helen Mirren reprises her Academy Award winning role as Queen Elizabeth II in the highly-anticipated West End production of The Audience, broadcast live from London’s Gielgud Theatre as part of National Theatre Live.

For sixty years Elizabeth II has met each of her twelve Prime Ministers in a weekly audience at Buckingham Palace – a meeting like no other in British public life – it is private. Both parties have an unspoken agreement never to repeat what is said. Not even to their spouses. The Audience breaks this contract of silence – and imagines a series of pivotal meetings between the Downing Street incumbents and their Queen. From Churchill to Cameron, each Prime Minister has used these private conversations as a sounding board and a confessional – sometimes intimate, sometimes explosive.

From young mother to grandmother, these private audiences chart the arc of the second Elizabethan Age. Politicians come and go through the revolving door of electoral politics, while she remains constant, waiting to welcome her next Prime Minister.

The Audience reunites writer Peter Morgan and Academy Award-winning actress Helen Mirren following their collaboration on the critically-acclaimed movie sensation The Queen.

The Audience is directed by Academy Award-nominated director Stephen Daldry (Billy Elliot, The Hours) and presented in the West End by Matthew Byam Shaw for Playful Productions, Robert Fox and Andy Harries.

Music: Giuseppe Verdi
Conductor: Andrea Molino
Director: Alex OllLong

Synopsis

Prepare to be amazed by a breathtaking new production by La Fura dels Baus, the ingenious company that has staged a powerful version of Berliozs The Damnation of Faust and Gyrgy Ligetis spectacular fantasy Le Grand Macabre.

The innovative director Alex Oll and designers Alfons Flores and Lluc Castells have created a visually stunning, ground-breaking tale of deception, disguise and fate in a world where the wealthy have all the power and control the populace. While the benevolent ruler plans a grand masquerade for the pleasure of his subjects, his conspirators are plotting his end. The traitors, however, will only succeed if they can enlist an ally close to the king.

With its unforgettable melodies and fine balance of romance and tragedy and one of operas greatest love duets the international collaboration is a first for Opera Australia ahead of seasons in Brussels, Oslo and Buenos Aires. The acclaimed soprano Tamar Iveri and rising Mexican tenor Diego Torre make their role debuts as Amelia and Gustav III respectively while the outstanding Jos Carb portrays Count Ankarstrm in his first Verdi opera.

Olls visceral production sets a new benchmark in theatrical innovation and promises to be as mindboggling and daring as it is musically lush. It is conducted by the Italian composer and conductor Andrea Molino, the artistic director of the World Venice Forum who conducted Of Mice and Men and Macbeth for Opera Australia.

Filled with a cast of unforgettable characters, Twelfth Night is a moving comedy of loss and misplaced love and includes some of the most exquisite songs Shakespeare ever wrote.

The all-male Original Practices production, exploring clothing, music, dance and settings possible in the Globe around 1601, stars award-winning Mark Rylance and Stephen Fry. Twelfth Nights sell-out performances led to a hit run in Londons West End.

Cast
Samuel Barnett, Liam Brennan, Paul Chahidi, John Paul Connolly, Ian Drysdale, Johnny Flynn, Stephen Fry, James Garnon, Peter Hamilton Dyer, Colin Hurley, Roger Lloyd Pack, Mark Rylance, Jethro Skinner and Ben Thompson.

Act I

Susanna tries on a wedding bonnet, while her fianc Figaro measures the room in the castle given to them by the Count. She points out the rooms dangerous proximity to the Counts, reminding Figaro of the droit de seigneur, the ancient feudal right of masters to dally with their maidservants. Figaro vows to thwart him. Figaros old enemy, Bartolo, and Bartolos former servant, Marcellina, enter with a marriage contract between Marcellina and Figaro, which they intend to enforce. The page Cherubino enters, protesting at being sent away to the army because the Count found him dallying with the gardeners daughter Barbarina. When the Count approaches, he hides. The Count romances Susanna. Her singing teacher Basilio arrives, forcing the Count to hide. When he comes out of hiding, he discovers the hidden Cherubino. Figaro arrives with a group of peasants, praising the Count for abolishing the droit de seigneur. The Count sends Cherubino off to join his regiment.

Act II

The Countess laments her husbands neglect. Susanna tells her of the Counts designs upon her, and of Figaros plan to send a cross-dressed Cherubino to meet the Count instead of her. Cherubino arrives to prepare for his tryst with the Count, but the Counts arrival forces him to hide in the closet. Susanna returns unobserved and hides.On hearing that Susanna is hiding in the closet, the Count demands that she emerge. He goes to fetch tools to open the door, taking the Countess with him. Susanna releases Cherubino, who escapes through the window while she enters the closet. Returning with her husband, the Countess confesses that Cherubino is inside. Both are nonplussed when Susanna emerges.Figaro arrives. The gardener Antonio enters, complaining that someone jumped from the window; Figaro claims it was him. The Count is relieved when Bartolo, Marcellina and Basilio enter and demand that Figaro marry Marcellina or repay his debt. Long interval

Act III

The Count pursues Susanna. She agrees to a rendezvous, but he then overhears her plotting with Figaro. Alone, the Countess ponders her unhappy marriage. Meanwhile, the court case on Marcellinas marriage contract has been resolved in her favour. Figaro confesses that he was born into a respectable family and requires his parents consent. From his description of his history, Marcellina recognises Figaro as her long-lost son; Bartolo is his father. Susanna and the Countess write to the Count, inviting him to the rendezvous; a pin must be returned as acknowledgement. A group of peasant girls arrive to offer flowers to the Countess, with the disguised Cherubino among them. Barbarina forces the Count to agree to let her marry Cherubino. The wedding celebrations begin. Susanna passes the letter to the Count.

Act IV

That night in the garden, Barbarina laments losing the pin she was to return to Susanna. Figaro resolves to interrupt the tryst between Susanna and the Count. Marcellina goes to forewarn Susanna. Barbarina hides, as do Figaro, Bartolo and Basilio. Disguised in each others clothes, Susanna and the Countess enter to ensnare the Count. Cherubino arrives seeking Barbarina, but he sees (as he thinks) Susanna, and flirts with her. The Count takes Cherubinos place, wooing Susanna. Figaro, seeing through Susannas disguise, pretends to seduce the Countess, and is caught by the Count, who refuses to forgive his wife for her apparent infidelity. The truth is revealed and all is set right.

Affectionally known as "The King of Waltz", Andr performs a series of concerts in his home town of Maastricht, in The Netherlands every year. The concerts are performed in front of thousands of fans and are set amongst the beautiful medieval backdrop of his beautiful home town of Maastricht.

As always, Andre is joined by his famous Johann Strauss Orchestra, his Sopranos, Tenors and some very special guests. The Maastricht concerts are Andrs most popular concerts of the year with his most dedicated fans flying from all over the world to see this incredible event live.

The Maastricht concerts are so special and so unique with the atmosphere in the town square heightened by both the enormous crowds and the many restaurants lining the square, who all take part in this magnificent event.

When asked if Andre had a message for his fans around the world, he said: If you cant join us in Maastricht, we will come to you. It is going to be a magical event with some very special guests. Come and enjoy the music on the big screen in the comfort of your local cinema."2013 is shaping up to be his biggest and most spectacular concert ever to be screened in cinemas.

As always, the broadcast will feature CinemaLive host, Charlotte Hawkins, who will introduce the show as well as conduct an interview with Andr the moment he steps off stage, exclusively for cinema audiences.

La Valse fills the stage with 21 couples, spinning endlessly to Ravel’s pulsating score. It is the perfect curtain-raiser for a generous all-Ashton programme, showing the breadth of the choreographer’s inspiration, his musicality and his infallible sense of drama.

Following La Valse are two delightful short works, the first an ardent love duet set to the intermezzo from Massenet’s opera Thais, the second a Viennese whirl of a piece, set to a waltz by Johann Strauss II. Ashton’s Monotones are an otherworldly distillation of Erik Satie’s piano pieces Trois Gymnopedies.

Monotones I and II are among Ashton’s most modernist, and greatest works. Indelibly associated with Fonteyn and Nureyev, Marguerite and Armand offers audiences another opportunity to see one of Ashton’s most passionate creations, swept along by Liszt’s torrential Sonata in B minor.

Starring
‘MEDITATION’ FROM THAÏS:
Mara Galeazzi, Rupert Pennefather
VOICES OF SPRING:
Emma Maguire, Valentino Zucchetti
MONOTONES I & II:
Emma Maguire, Akane Takada, Dawid Trzensimiech, Marianela Nuñez, Federico Bonelli, Edward Watson
MARGUERITE & ARMAND:
Tamara Rojo, Christopher Saunders, Sergei Polunin, Gary Avis
Production Information
Recorded at the Royal Opera House February 2013
NEW cinema release
Running time 133 minutes INCLUDING two intervals

National Theatre Live will broadcast Manchester International Festival’s electrifying production of Macbeth, with Kenneth Branagh (My Week With Marilyn, Hamlet) in his first Shakespeare performance in over a decade as Macbeth, and Alex Kingston (Doctor Who, ER) as Lady Macbeth.

Directed by Olivier and Tony Award-winner Rob Ashford (Anna Christie at the Donmar Warehouse, Thoroughly Modern Millie on Broadway) and BAFTA Award-winner Kenneth Branagh, this unique production of Shakespeare’s tragic tale of ambition and treachery unfolds within the walls of an intimate deconsecrated Manchester church.

Kenneth Branagh has long been lauded as one of the great Shakespearean interpreters. His skills as a writer, director and actor have garnered international acclaim across the disciplines of stage, film and television, and he is the only man to be nominated in five different categories for an Academy Award. He last performed Shakespeare when he played Richard III at the Sheffield Crucible in 2002. Recent stage performances as Edmund at the National Theatre and Ivanov for the Donmar played to great acclaim. In 2011 he completed a sell-out run of the hit comedy The Painkiller at the Lyric Theatre in his home city of Belfast.

Alex Kingston won critical acclaim for her numerous television roles including Dr. Elizabeth Corday in ER and River Song in Doctor Who. A former member of the Royal Shakespeare Company, performing in Much Ado About Nothing, King Lear and Love’s Labour’s Lost amongst others, Kingston was recently seen on the London stage in Luise Miller at the Donmar Warehouse. In 2006 she played Nurse Ratched in the West End production of One Flew Over the Cuckoo’s Nest starring Christian Slater. Recent feature film credits include Sweetland opposite Alan Cummings and Alpha Dog, starring Justin Timberlake.

Rob Ashford has directed and choreographed productions on both sides of the Atlantic. From collaborations with the Donmar Warehouse and National Theatre, to Broadway, Ashford has a string of nominations and awards to his name including an Olivier Award for Anna Christie and nominations for A Streetcar Named Desire and Parade (Donmar Warehouse) and a Tony Award for Thoroughly Modern Millie and nominations for productions including Evita and How to Succeed in Business Without Really Trying. He also won an Emmy for his choreography at the 81st Annual Academy Awards.

Prologue

Diana, chaste goddess of the moon and the hunt, and Cupid, god of love, argue over who will dominate. Their quarrel is settled by Jupiter, who decrees that love will rule over all hearts for one day every year. Diana vows to protect the mortals Hippolytus (Hippolyte) and Aricia (Aricie).

Act I

Hippolytus is in love with a young woman, Aricia, the daughter of Pallas, the enemy of his father Theseus (Thse), King of Athens. Pallas compels Aricia to take a vow of chastity to Diana. Before she does so, Hippolytus reveals his love for Aricia and Diana promises to protect the couple. This enrages Phaedra (Phdre), Queen of Athens, who harbours an illicit love for Hippolytus, her stepson. News arrives that her husband Theseus is dead. Phaedra may now pursue her passion for Hippolyte and offer him the crown of Athens.

Act II

Neptune, father of Theseus, has promised to answer his sons prayers three times during his life. Theseuss first prayer is to reach Hades safely, where he hopes to rescue his friend Pirithous. Theseus fights with the Fury Tisiphone, but successfully reaches Plutos court. Pluto condemns Theseus to share the fate of his friend Pirithous, but allows him a trial. When Theseus loses, he prays a second time to Neptune, and Pluto is powerless to hold him. As Theseus is leaving, however, the Furies (Les Parques) predict that though he may leave Hades, he will find Hell in his own home.

Act III

Phaedra meets Hippolytus, who offers her his condolences on the death of Theseus. Mistaking his concern for love, Phaedra confesses her passion to him. Hippolytus is shocked and curses her. Phaedra tries to kill herself but Hippolytus prevents it. Theseus arrives unexpectedly. Unsure what to make of the scene, he accuses Hippolytus of trying to rape Phaedra. Phaedra rushes off and Hippolytus nobly refuses to denounce his stepmother. Theseus decides to use his last prayer to Neptune to punish Hippolytus.

Act IV

Hippolytus and Aricia have escaped together to Dianas realm. A monster suddenly emerges from the sea to punish Hippolytus. He tries to fight it and is defeated. Phaedra confesses her guilt for Hippolytuss death.

Act V

Theseus learns the truth from Phaedra, who takes her own life. Theseus too threatens suicide but Neptune reveals that Hippolytus is still alive, thanks to Dianas protection. But for unjustly blaming his son, Theseus is condemned never to see him again. In Dianas realm, the goddess reunites Hippolytus and Aricia.

Hugh Jackman returns as Wolverine in this sequel to the member of the X-Mens first solo outing. Mark Bomback and The Usual Suspects Christopher McQuarrie penned the script, which takes its inspiration from the Chris Claremont/Frank Miller Marvel miniseries from the 1980s dealing with the characters adventures in Japan as he fights ninjas in the ceremonial garb of the samurai. Knight and Days James Mangold directs. 

In Rigoletto, Verdi charts the fate of his larger-than-life characters – the tormented jester trying to avenge himself on his heartless playboy employer the Duke of Mantua, who has carelessly seduced Rigoletto’s innocent daughter Gilda – in music of immense theatrical punch and instant memorability.

The score’s most celebrated highlights – the Duke’s Questa o quella and La donna è mobile and Gilda’s Caro nome – are among the best known set-pieces in all opera. First seen in 2001, David McVicar’s production teems with life and colour and with Tanya McCallin’s period costumes and Michael Vale’s starkly effective sets, it provides an ideal frame for Verdi’s exploration of love, emotional betrayal and the darkest revenge.

Starring
Dimitri Platanias, Ekaterina Siurina and Vittorio Grigolo
 
Composer
Giuseppe Verdi
 
Conductor
John Eliot Gardiner

Director
David McVicar
 
Production Information
Recorded at The Royal Opera House in 2012
Opera in three acts
Running time 153 minutes including one interval
Sung in Italian

Music: Georges Bizet
Conductor: Brian Castles-Onion
Director: Gale EdwardsLong

Synopsis

Set on a stage suspended above the water on Sydney Harbour, this sizzling outdoor staging of Bizets famous love story - Carmen tells the story of the naive soldier Don Jos who abandons his childhood sweetheart and deserts the army when he falls under the alluring gypsys spell. When he loses her love to the dashing toreador Escamillo, the scene is set for jealousy and vengeance.

Bizets seductive melodies and fiery Spanish rhythms conjure a world of desire, defiance and doom, in some of the worlds best loved music, including the arias Habanera, Seguidilla, Flower Song and Toreador Song.Israeli born mezzo-soprano Rinat Shaham, one of the worlds most acclaimed Carmens, performs the title role.

Act I

The elderly bachelor Don Pasquale, at his house in Rome, awaits his friend Dr Malatesta, who has arranged a marriage for him. The bride, Malatesta tells him, is beautiful and innocent, and happens to be Malatestas sister. Don Pasquale reminds his nephew Ernesto that he has offered to wed him to a wealthy lady on pain of disinheritance if he refuses. Ernesto refuses again; he intends to marry the impoverished Norina. At home, Norina scoffs at a romantic novel. Malatesta arrives and tells her of the scheme he has hatched to help her and Ernesto marry. Norina will be introduced to Pasquale as Malatestas sister Sofronia, fresh from the convent. After they are married by a false notary, Pasquale will be at their mercy.

Act II

Disowned by Pasquale, Ernesto feels he cannot ask Norina to share his poverty.Malatesta arrives at Pasquales house with Sofronia, apparently shy and afraid of men. Pasquale proposes and she accepts. Malatestas false notary draws up the contract, making Sofronia mistress of the house and owner of half of Pasquales goods. The ceremony done, Sofronia instantly transforms into a domineering, spendthrift shrew and appoints Ernesto her escort.

Act III

Don Pasquale, his home completely revamped by Norina/Sofronia, examines the bills with horror. Norina enters, dressed up to go to the theatre. Pasquale tries to stop her, but Sofronia treats him harshly. As she leaves, she deliberately drops a piece of paper. Pasquale discovers that it is a note from Sofronias lover arranging a tryst in the garden that evening. Pasquale sends for Malatesta and shows him the note. They agree to confront the lovers in the garden that night.Later, in the garden, Ernesto serenades Norina, and they sing of their love. Pasquale and Malatesta spy on them and then ambush them, but Ernesto escapes unrecognised. Sofronia denies her guilt and refuses to leave, but Malatesta persuades her that she cannot stay, as Norina is to arrive tomorrow as Ernestos bride. Pasquale is thus forced to accept Ernestos chosen wife in order to get rid of his own. When the truth is finally revealed, Pasquale forgives the youngsters and all are reconciled.

Shakespeares most outrageous comedy, The Taming of the Shrew introduces one of theatres great screwball double-acts, a couple hell-bent on confusing and outwitting each other right up to the plays equivocal and controversial conclusion.

Cast
Tom Anderson, David Beames, Jamie Beamish, Michael Bertenshaw, Simon Paisley Day, Pip Donaghy, Patrick Driver, Tom Godwin, Christopher Keegan, Sarah MacRae, Pearce Quigley, Samantha Spiro, Joseph Timms, Rick Warden and Helen Weir.

Verdi’s lifelong love affair with Shakespeare first took flight with Macbeth in 1847. Musically, the composer’s masterstrokes were the macabre choruses for the witches, the evocative orchestral colours and the increased role for the ‘ugly and evil’ Lady Macbeth.

Phyllida Lloyd’s production uses Verdi’s 1865 revision, especially noted for Lady Macbeth’s great aria ‘La luce langue’ and the wonderful Act IV opening chorus, and brings out the dark motivations of the Macbeths and the light of justice for those they wrong. Simon Keenlyside and Liudmyla Monastryrska play the Scottish nobleman and his villainously ambitious wife, who spurs her husband to murder for the sake of his career, and American bass-baritone Raymond Aceto takes the role of Banquo, murder victim and symbol of conscience.

Starring
Simon Keenlyside, Liudmyla Monastryrska and Raymond Aceto
 
Composer
Giuseppe Verdi
 
Conductor
Antonio Pappano
 
Director
Phyllida Lloyd
 
Production Information
Recorded at the Royal Opera House June 2011
Opera in four acts
Sung in Italian
Running time 170 minutes EXCLUDING intervals

Prologue

Captain Vere, an old man, is haunted by a moment in his life when he was tested and found wanting.

Act I Scene 1

Years earlier, on board HMS Indomitable, a British man-of-war during the French wars of 1797, sailors are at work. A boarding party returns from a passing merchant ship, the Rights o Man, with three men impressed for naval service. John Claggart, Master-at-Arms, interviews them but only the last, Billy Budd, pleases the officers, despite his stammer. But his impassioned farewell to the Rights o Man is misunderstood as a revolutionary declaration, and Claggart, responsible for discipline, is told to watch Billy. He sets his corporal, Squeak, to harass Billy. A Novice returns from a flogging, and Donald and Dansker caution the new recruits that no one escapes punishment. They warn against Claggart while declaring their devotion to Vere.

Scene 2

A week later, Vere meets with two officers in his cabin and they discuss the recent naval mutinies at Spithead and the Nore. Vere discounts their fears about Billys influence on the men. Another officer arrives to announce that enemy land has been sighted.

Scene 3

Below the decks, the same evening, Billy discovers Squeak meddling with his kit-bag and they fight. Claggart arrives and has Squeak arrested. Alone, Claggart voices his determination to destroy Billy. He forces the Novice to try to bribe Billy into leading a mutiny. Billy awakens to hear the Novices proposal. Furious at the idea of mutiny, he can only stammer. Dansker tells Billy that Claggart is behind it all, but Billy refuses to believe him.

Act II Scene 1

Some days later, Claggart is telling Vere that there is a dangerous sailor aboard, when a French ship is sighted. The crew are called to action stations and a shot is fired, but the wind fails, the mist returns and the chase is abandoned. Claggart returns to Vere and again accuses Billy of planning a mutiny. Vere orders both men to his cabin.

Scene 2

Billy arrives in Veres cabin to be confronted by Claggarts false accusation of inciting mutiny. Unable to speak to defend himself, Billy strikes Claggart, who falls dead. Vere summons his officers to an immediate drumhead court martial, knowing that the penalty for striking a superior officer is death. Aware of the injustice of the death sentence in this instance, the officers appeal to Vere for guidance; he remains silent, the officers reluctantly resolve that Billy should be hanged at dawn.

Scene 3

The next morning, shortly before dawn, Billy awaits his execution.

Scene 4

On deck, at four oclock, the crew assemble to witness the hanging. Billys final words are Starry Vere, God bless you! After the hanging the crew turn on the officers in anger. When they are ordered below, their rebellion subsides into sullen obedience.

Epilogue

Vere, now an old man, knows he has failed Billy and himself: he could have saved him. He receives Billys last words as a kind of benediction, redeeming him at the last.

The simple story of Lise, her suitor Colas and Lise’s larger-than-life mother, the Widow Simone, who tries to marry her off to the simpleton son of a rich neighbour, is full of delicious comedy but also wonderful, characterful choreography.

One of the greatest pleasures of La Fille mal gardée is the way in which the steps, though at times devilishly difficult, never get in the way of the natural, easy storytelling. The virtuoso roles of Lise and Colas combine dazzling technique with tiny, intimate details that makes their romance touching and real, while the humour of Widow Simone with her famous ‘clog dance’ and the innocent Alain, more interested in his red umbrella than Lise’s charms, is delightful.

Funny and touching, La Fille mal gardée is the perfect ballet for first-timers of all ages, but it is also one to which ballet-lovers will return again and again with renewed pleasure at every performance.

Starring
Roberta Marquez and Steven McRae
 
Choreographer
Frederick Ashton
 
Production Information
Ballet in two acts
Recorded at the Royal Opera House May 2012
Running time 105 minutes EXCLUDING interval

The National Theatre presents a major new production of William Shakespeare’s celebrated play about the destructive power of jealousy.

Olivier Award-winning actor Adrian Lester (Henry V at the National Theatre, BBC’s Hustle) takes the title role.

Playing opposite him as the duplicitous Iago is fellow Olivier Award-winner Rory Kinnear (The Last of the Haussmans, James Bond: Skyfall), who is reunited with director Nicholas Hytner (Timon of Athens, One Man, Two Guvnors) following their acclaimed collaboration on the National Theatre’s recent production of Hamlet.

Othello, newly married to Desdemona – who is half his age – is appointed leader of a major military operation. Iago, passed over for promotion by Othello in favour of the young Cassio, persuades Othello that Cassio and Desdemona are having an affair.

National Theatre Live’s 2010 broadcast of Hamlet returns to cinemas as part of the National Theatre's 50th anniversary celebrations.

Following his celebrated performances at the National Theatre in Burnt by the Sun, The Revenger's Tragedy, Philistines and The Man of Mode, Rory Kinnear plays Hamlet in a dynamic new production of Shakespeare’s complex and profound play about the human condition, directed by Nicholas Hytner.

He is joined by Clare Higgins (Gertrude), Patrick Malahide (Claudius), David Calder (Polonius), James Laurenson (Ghost/Player King) and Ruth Negga (Ophelia).

National Theatre Lives 2011 broadcast of Frankenstein returns to cinemas as part of the National Theatres 50th anniversary celebrations. Frankenstein enjoyed a sell-out run at the National Theatre, and went on to win awards including the 2012 Olivier Award for Best Actor for Benedict Cumberbatch and Jonny Lee Miller.

Oscar-winner Danny Boyle (Trainspotting, Slumdog Millionaire) directs a sensational production with Benedict Cumberbatch (Star Trek: Into Darkness, BBCs Sherlock) and Jonny Lee Miller (Trainspotting, CBSs Elementary) alternating roles as Victor Frankenstein and his creation.

Childlike in his innocence but grotesque in form, Frankensteins bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.

Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.

Thursday 31st - BENEDICT CUMBERBATCH IS THE MONSTER & JONNY LEE MILLER IS VICTOR

Thursday 14th - JONNY LEE MILLER IS THE MONSTER & BENEDICT CUMBERBATCH IS VICTOR

National Theatre Live’s 2010 broadcast of Alan Bennett’s acclaimed play The Habit of Art, with Richard Griffiths, Alex Jennings and Frances de la Tour, returns to cinemas as part of the National Theatre's 50th anniversary celebrations.

Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by, amongst others, their future biographer and a young man from the local bus station.

Alan Bennett’s play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion’s spent: ultimately, on the habit of art.

We’re thrilled to be screening the first ever live cinema broadcast from the stage of the Royal Shakespeare Company. We kick-start an exciting new season of three RSC plays with the sellout production of Richard II (the fastest selling show in the RSC’s history), with David Tennant in the title role and directed by RSC Artistic Director Gregory Doran.

Richard is King, ordained by God to lead his people. But he is also a man of very human weakness. A man whose vanity threatens to divide the great houses of England and drag his people into a dynastic civil war that will last 100 years.

Music: Giacomo Puccini
Conductor: Christian Badea & Nicholas Milton
Director: John Bell by arrangement with Bell ShakespeareLong

Synopsis

Puccini was a true theatre composer, using every means available to move the emotions of an audience. His aim was dramatic truth. The sweep and flow of the music propels the riveting drama of love, jealousy and sacrifice with astonishing vigour and force.

Distinguished actor/director John Bell, the artistic director of Bell Shakespeare, has joined forces with award-winning set designer Michael Scott-Mitchell and the young, emerging costume designer Teresa Negroponte to create a stark, monumental staging set in Mussolinis Italy in the 1940s.

Puccinis irresistible score features the unforgettable aria, Vissi darte, a moment of heart-breaking poignancy in a plot where Floria Tosca and Cavaradossi are embroiled in an attempt to help a friend escape from prison. The chief of police in Rome, Baron Scarpia, is himself the perpetrator of worse crimes than those he has officially to deal with. Greek sorpano Alexia Voulgaridou performs the title role and is joined by the sensational tenor Yonghoon Lee while the breathtaking baritone John Wegner plays Scarpia in the legendary love triangle. Christian Badea conducts.

National Theatre Live will broadcast the Donmar Warehouse’s production of Coriolanus, Shakespeare’s searing tragedy of political manipulation and revenge, with Tom Hiddleston (The Avengers, War Horse (film), BBC's The Hollow Crown) in the title role and Mark Gatiss (Season's Greetings at the National Theatre, BBC's Sherlock) as Menenius, directed by the Donmar's Artistic Director Josie Rourke.

When an old adversary threatens Rome, the city calls once more on her hero and defender: Coriolanus. But he has enemies at home too. Famine threatens the city, the citizens’ hunger swells to an appetite for change, and on returning from the field Coriolanus must confront the march of realpolitik and the voice of an angry people.