Nominated for three Tony Awards®, The Audience sees Helen Mirren reprise her Olivier Award-winning performance as Queen Elizabeth II, following her Academy Award® win for the same role The Queen. Encore screenings of the original West End production of The Audience, captured live in London in 2013, feature an exclusive Q&A with Stephen Daldry and Helen Mirren.
‘Helen Mirren is smashing. Her Majesty will see you now’ New York Times
For sixty years, Queen Elizabeth II has met with each of her twelve Prime Ministers in a private weekly meeting. This meeting is known as The Audience. No one knows what they discuss, not even their spouses.
From the old warrior Winston Churchill, to the Iron Lady Margaret Thatcher, Tony Blair right up to today’s meetings with the current incumbent David Cameron, the Queen advises her Prime Ministers on all matters both public and personal. Through these private audiences, we see glimpses of the woman behind the crown and witness the moments that shaped a monarch.
The Audience has received three 2015 Tony Award® nominations for Best Performance by an Actress in a Leading Role in a Play (Helen Mirren), Best Performance by an Actor in a Featured Role (Richard McCabe) and Best Costume Design (Bob Crowley). The production has also been nominated for 6 Outer Critics Circle Awards (including Outstanding New Broadway Play), 4 Drama League Awards (including Outstanding Production of a Broadway or Off-Broadway Play) and 2 Drama Desk Awards (including Outstanding Actress in a Play).
The Audience is written by Peter Morgan (The Queen) and directed by two-time Tony Award® winner and Academy Award®-nominated director Stephen Daldry (Billy Elliot, The Hours), and was presented in the West End by Matthew Byam Shaw for Playful Productions, Robert Fox and Andy Harries.
Encore screenings feature a live performance recorded during the original run of the production in London’s West End in 2013, and feature the original West End cast.
August 27 at 7:15 pm
September 2 at 3:30 pm
BAFTA winner and Academy Award® nominee Chiwetel Ejiofor (12 Years a Slave) takes the title role in this dynamic new production of one of English drama’s oldest plays, directed by the National Theatre’s new Director Rufus Norris (Broken, London Road).
Everyman is successful, popular and riding high when Death comes calling. He is forced to abandon the life he has built and embark on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out.
One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, it now explodes onto the stage in a startling production with words by Carol Ann Duffy, Poet Laureate, and movement by Javier De Frutos.
The Beaux Strategem
Sept. 24 at 7:15 pm
Sept. 30 at 3:30 pm
Simon Godwin (Man and Superman) directs George Farquhar's wild comedy of love and cash.
The ‘Beaux’: Mr Aimwell and Mr Archer, two charming, dissolute young men who have blown their fortunes in giddy London. Shamed and debt-ridden, they flee to provincial Lichfield. Their ‘Stratagem’: to marry for money.
Lodged at the local inn, posing as master and servant, they encounter a teeming variety of human obstacles: a crooked landlord, a fearsome highwayman, a fervent French Count, a maid on the make, a drunken husband, a furious butler, a natural healer and a strange, turbulent priest.
But their greatest obstacle is love. When the Beaux meet their match in Dorinda and Mrs Sullen they are most at risk, for in love they might be truly discovered.
Oct. 15 at 7:15 pm
Oct. 21 at 3:00 pm
Oct. 24 at 10:00 am
Oct. 29 at 7:15 pm
Academy Award® nominee Benedict Cumberbatch (BBC’s Sherlock, The Imitation Game, Frankenstein at the National Theatre) takes on the title role of Shakespeare’s great tragedy.
Directed by Lyndsey Turner (Posh, Chimerica) and produced by Sonia Friedman Productions, National Theatre Live will broadcast this eagerly awaited production live to cinemas.
As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state.