Last year I was lucky enough to be able to see both versions of Danny Boyle’s Frankenstein at the National Theatre, with both Benedict Cumberbatch and Jonny Lee Miller as the Creature, and as Frankenstein. Yesterday I took the opportunity to catch Cumberbatch as the Creature again, at a National Theatre Live screening. The production was excellent, with Cumberbatch standing out as the Creature (as he did as Frankenstein). Cumberbatch has carved a niche for himself as the go-to actor for posh and emotionally repressed (Sherlock, David Scott-Fowler in After the Dance, and soon to be Christopher Tietjens in Parade’s End). But as the Creature Cumberbatch shows his versatility and physicality. Cumberbatch commands attention, even though for a substantial part of the first half he doesn’t speak.
Jonny Lee Miller and Naomie Harris give excellent performances but Cumberbatch as the Creature sustains the production. While initially the Creature embodies the joys of living Cumberbatch goes on to capture the increasing despair of a lonely man, abandoned by his creator and rejected by society, his humanity and kindness destroyed by successive confrontations with the world.
At the start the camera was inclined to zoom around and over the stage, but once it settled down the showing was almost as good as the theatre, capturing the atmosphere as closely as possible. As with the showing of She Stoops To Conquer I attended (which featured videos on the play’s costumes as well as an interview with director Jamie Lloyd) the screening featured an interesting video discussing the production.
NTLive is an excellent way to reach out to new audiences, both in the UK and abroad. These screenings are accessible to those not able to reach London and developing new audiences at NTLive can only be beneficial for ticket sales at the National Theatre itself. Recording these performances also preserves them for posterity and allows further showings such as the current screenings of Frankenstein. The screening may also have been beneficial for the two girls I was sitting next to, who were holding hands and hyperventilating at the sheer anticipation of Cumberbatch’s appearance on screen. Who knows how they would have coped with the prospect of seeing him on stage in person?!
Other companies are following the National Theatre’s example, with the Donmar Warehouse’s production of King Lear being broadcast as part of NTLive last year. The Royal Opera House also has a live cinema season. The increasing tendency for organisations to broadcast their live performances can only be a good thing as it broadens access to, and encourages engagement with, audiences.