Tag: playwright

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Review

Prima Facie (Live Screening, 2022)

Trigger warning: This review delves into various aspects of Prima Facie, including its depiction of sexual assault and rape.

One the plays that has had theatregoers talking this year is Prima Facie. Suzie Miller’s legal play follows the story of a criminal defence barrister, Tessa (Jodie Comer), whose world is turned upside down after she is raped as she experiences the injustice of the system in the way it treats victims of sexual assault. It is a one-woman play with BAFTA and Emmy-winning actress Jodie Comer making her West End debut in the role and she delivers a powerful performance. It’s no wonder that the play has been so successful that it is being transferred to Broadway with Comer reprising the role of Tessa. This live screening of Prima Facie was arranged by the National Theatre.

The play is written by Suzie Miller and her legal background is evident given how detailed and precise the writing is. The play premiered in Sydney in 2019, but what is nice about this production is that Miller has incorporated Comer’s Scouse background and added touches of Liverpool throughout the dialogue. Prima Facie is a play that explores the serious issue of sexual assault and how it is currently dealt with in court as victims as made to appear at fault and picked apart by defence teams. It is also a play about class as Tessa’s working class background and outlook contrasts greatly with the people she socialises with. Where Tessa has had to work extremely hard for her career, it seems almost expected of her privately educated peers that they would fall into a similar line of work.

The play starred Jodie Comer as Tessa and she completely embodies everything about the character from the moment she steps on stage. Comer has blown the world away thanks to her impeccable acting on film (The Last Duel and Free Guy) and television (Doctor Foster and Killing Eve) and now she dominates the stage. Tessa is an ambitious woman who works her way up to a successful career and along with it, finds herself socialising with the middle and upper classes. This is a far cry away from the character’s Scouse working class upbringing. What is nice about Comer’s portrayal is that it gives the actress the chance to embrace her natural accent throughout. Although the play is a one-woman show, the scene in which Tessa is raped feels extremely explicit and graphic because Comer’s performance is so intense.

The music by Self Esteem, credited as Rebecca Lucy Taylor is exceptional and feeds into the claustrophobic nature of the courtroom and the tragic assault that Tessa experiences. Before the live screening began, we were shown an exclusive performance of Self Esteem’s song “I’m Fine”. The message of the song runs through the play and is a fitting anthem for the play. Taylor’s unique sound and style is evident throughout the score for Prima Facie. The opening track “The Winner” backs

Prima Facie is a play that is difficult to watch due to the subject matter, but it is an extremely important play for the same reason. Miller’s play provides insight into the injustice in how the system deals with sexual assault cases and how wrongly the victims are treated. We see Tessa at both sides of system, starting in her role as a criminal defence barrister and using the techniques that the law permits, but in the second half of the play, she is victim to those same tactics and realises how the justice system does not deal with these cases in a fair manner.

What did you think of Prima Facie? Let me know in the comments below!

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

Another film on my awards season list is The Forty-Year-Old Version, released on Netflix, the film is a brilliant comedy film written, directed and starring Radha Blank. It first premiered at the 2020 Sundance Film Festival, with Blank walking away with the U.S. Dramatic Competition Directing Award which made it one of the hottest releases at Sundance. Although it is marketed as a comedy and really showcases Blank’s talent for humour, the film crosses into many genres, particularly drama and musical as we see every side of Radha’s life as she approaches her 40th birthday. Marking her feature film debut as a director, Blank has a distinct vision that allows the audience to see real women and the real New York. The decision to shoot the film in black and white made me think of Spike Lee’s films from the 1980s, especially since they are set in New York and feels like a fresh take for the 21st century just as Lee’s point of view was on his film’s release.

The Forty-Year-Old Version follows Radha, a fictionalised version of Blank as a struggling playwright and teacher who is trying to get her play, Harlem Ave. off the ground. Attempting to revive a failed rap career under the name RadhaMUSprime, we go through Radha’s artistic process and how it overlaps through different mediums of expression such as musical, plays, performances. As she balances her teaching career, trying to get her play produced and emerging as a rapper, Radha’s life becomes hectic and out of control as she struggles to maintain a balance. Soon enough, Harlem Ave. gets a renowned producer on board but that soon changes when the producer aims to market the play to middle class white people who know nothing of the struggles of the gentrification that Radha’s play explores. From exploring a young black couple who own a small store affected by gentrification to the addition of a white protagonist whose qualms in life is not having a place to buy soya milk. The play actually explores gentrification in an ironic way that brings those issues to light. It is Blank’s incredible script that talks about gentrification and the African-American struggle in modern day New York where the film really shines.

Playing a fictionalised version of herself, Radha Blank pulls off a great and relatable performance that perfectly highlights the struggle of being an artist. Radha is real, unfiltered and flawed whilst trying to express herself through her art. As she tries to write her.play, she finds herself rapping the words. Through music, she is able to find the words that she wants to say. Her point of view as a black woman who is nearing 40 in a society that is obsessed with youth and gaining success at a young age is something that confuses and shocks the audience. However, Radha’s voice comes in the climactic final scene of the film. As her play reaches its opening night, Radha is embarrassed and is appalled at being associated with such a result. Her rap speech at the end of the play is an exhale of all the words she wanted to say but couldn’t initially find them.

In support, the highlight for me is Peter Kim as Radha’s agent, Archie. Desperately trying to book Radha a gig, Archie provides comic relief and the scenes and rapport the two share makes for great dialogue. Whereas Radha is a creative, Archie is completely logical and aiming to achieve the American Dream by making money. Staying loyal to Radha as they have been longtime friends, it’s easy for Radha to forget Archie’s own struggles as an Asian-American because his aims are different to hers. The scene in which Archie breaks down to Radha hits hard, especially given that he is seen as light comic relief up to this point. Just like Radha, Archie also makes sacrifices to make way for opportunities and keep the door open for Radha to have her play produced after she lashes out at the producer.

Overall, The Forty-Year-Old Version is one of the most original comedies to come into the 2021 awards season. As it is one of the smaller indie films, it’s not likely to rack up lots and lots of nominations sadly but I think it stands a very good chance in the Original Screenplay category. As mentioned previously, the final scene is an absolute masterclass in acting and writing. Through all the humour that the film conveyed throughout, that serious tone in the rap/speech grounds the film and also allows Radha to cut through all the noise. Blank’s writing is fearless, unflinching and unapologetic and the result is a fantastic film that perfectly exemplifies the struggles of African-Americans when it comes to creating art and how their output has to be approved by a white audience. Blank subverts this rule by firmly putting a middle finger up to an establishment that is trying to rewrite the history of gentrification.

What did you think of The Forty-Year-Old Version? Let me know in the comments below!

The Forty-Year-Old Version is available to watch on Netflix now!

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Ma Rainey’s Black Bottom (2020)

Continuing my awards season viewing with this fantastic stage to screen adaptation of August Wilson’s play of the same name. Ma Rainey’s Black Bottom follows the titular Ma Rainey (Viola Davis), a blues singer and her band as they spend the day recording a new song in a studio in Chicago. Directed by George C. Wolfe and adapted by Ruben Santiago-Hudson, Ma Rainey’s Black Bottom is a masterclass in acting performance, particularly by Viola Davis as the vivacious Ma and Chadwick Boseman is astonishing as band trumpeter, Levee.

The film is produced by Daniel Washington as part of a 10 film deal and follows 2016’s Fences. Washington directed Fences and decided to keep the original play script by Wilson as the film shooting script. This caused some restrictions as film and stage are naturally so different that the transition between the two is not always seamless. Sometimes the dialogue between characters can carry too much exposition onscreen which can make a film feel clunky. What Ma Rainey’s Black Bottom successful is Santiago-Hudson’s adaptation of the script to lift it from stage to screen. What Santiago-Hudson does is elevate the dialogue so it has more flow and rhythm for the film’s fast pace without compromising the integrity of Wilson’s original script. He also keeps it as restricted as possible in terms of location meaning that it is an extremely loyal adaptation. This is how plays are meant to be adapted from stage to screen.

To say Viola Davis’ performance is transformative would be a huge understatement. She becomes Ma in such a way that you really forget that it is Davis beneath the character. I have written on Davis’ top performances in the past (which you can read here) and her performance as Ma would easily sit among them. From the moment she commands the screen belting out numbers to large crowds, it’s clear that Ma is a force of nature. A character who knows her worth and knows what she wants and isn’t afraid to express this. It’s easy to see what drew Davis to the role and she fits it so perfectly. As a black woman, so many people, particularly her white manager, try to dictate the creative choices and tell her what sells but Ma knows her fans the most and will know what they want.

Also being campaigned for lead is the late Chadwick Boseman as rebellious trumpeter Levee. Sadly losing his fight against cancer earlier this year, Boseman leaves behind a legacy that has resonated with so many fans around the globe. Rounding off his professional career posthumously have been Spike Lee’s Da 5 Bloods (you can read my review here) and Ma Rainey’s Black Bottom. Whereas the former will likely see him nominated for a Supporting Actor gong, it is this lead performance in Ma Rainey’s Black Bottom that could secure him a well-deserved win. Levee is a dreamer who wants nothing more than to write songs and perform his own way. His strong personality clashes greatly with Ma who constantly puts him down. Like his character, Boseman never misses a beat and remains upbeat and charismatic throughout. Captivating the screen with his strength, this performance is definitely among the best of the year. This performance is definitely one to beat in the Oscars race next year for sure and it’s heartbreaking that Boseman isn’t here to see the legacy that he has left behind. A true icon who was showcasing a huge range.

Overall, Ma Rainey’s Black Bottom did not disappoint and will undoubtedly provide a slew of Oscar nominations and hopefully wins, particularly for Boseman. A beautiful swansong to sing out his legacy in a performance that is so captivating and demands to be watched and then watched again to really get under the layers. Where Ma Rainey’s Black Bottom really succeeds is showing the struggle of black women in a society that dictates how they should be. Ma is constantly told how she should act and what she should sing. Not only does this show degradation of her as a character but also the African-American culture as a whole. The final scene in which an all white band perform one of Levee’s songs only supports this.

What did you think of Ma Rainey’s Black Bottom? Let me know in the comments below!

Ma Rainey’s Black Bottom is available to watch now on Netflix.

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Dolemite Is My Name (2019)

Dolemite Is My Name is a brilliant look into the life of African-American icon Rudy Ray Moore played by Eddie Murphy in a career best performance. Moore is a man of many talents: acting, singing and stand-up. His comedy routines are his way into fame as he channels an alter ego Dolemite, a pimp style man of the 70s who speaks in rhyme and quickly builds up a fan base within the African-American community across the US. The film specifically follows his rise to stardom and the production of his first film Dolemite, a blaxploitation feature in which he plays his comedic alter ego. Directed by Craig Brewer and written by Scott Alexander and Larry Karaszewski, Dolemite is my Name marks a welcome return to Eddie Murphy as a leading man on the big screen and also boasts a brilliant supporting cast with Craig Robinson, Tituss Burgess, Keegan-Michael Key and Snoop Dogg. It’s brash and upfront, unafraid of its subject and showing just how far one will go for their time in the spotlight. The writing is spectacular and even the scenes where Moore isn’t speaking in rhyme almost have a poetic quality to them. Every pause and interaction has a flow that works brilliantly in the film and the characters interact naturally. You completely believe and engage with the characters and at no point are drawn away from the film. The direction is quick and sharp with eye-catching colour palettes that exemplify Moore’s even more colourful personality. Everything about this film was completely wonderful to watch.

In a sea of biopics, it would be easy to miss this one which seemed to sneak onto Netflix without fanfare but that would be your loss. Moore is a man who loves the limelight and will do anything to get it. He will do whatever it takes to become famous even if it means nudity, violence or strong language. He isn’t afraid of vulgarity and thrives on the offensive nature of his content. Who better to play such a controversial figure than Eddie Murphy? Murphy allows himself to embrace all aspects of Moore’s personality from his strong bravado to his insecurities and flaws. He has left no stone unturned in his preparation and the result is a captivating and stunning performance that does the Moore legacy proud. I hope Murphy continues releasing films like this that show his talent and range as an actor. In this film alone, he has to sing, act and perform stand-up as a man who is himself portraying a character. That is tricky to pull off and yet Murphy seems to do this effortlessly. This is a film that has a big cast list and yet Murphy is the draw and the centre of attention at all times. There aren’t many moments when he isn’t onscreen and yet his presence is anticipated and felt. Of course, this is only natural since it is a biopic on his character but it really is a magnetic performance.

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As mentioned before, the supporting cast is crammed full of amazing talent. If I had to choose one that stands out from the rest, it is probably Keegan-Michael Key as screenwriter and actor Jerry Jones. Jones is an earnest playwright who makes films that explore racism in modern society. When initially approached by Moore to write the screenplay for the Dolemite movie, he is reluctant to jump onboard but is eventually taken in by the scope of Moore’s fanbase. His reactions during and after filming the sex scene for the movie is priceless. Jones is a character who is taken way out of his comfort and it initially makes him seem like the only sane person in a crazy bunch but eventually he allows himself to have fun with it. I also really enjoyed Craig Robinson’s appearance as Moore’s friend, Ben Taylor, who provides the theme song for the Dolemite movie. His role is only small but when he is onscreen, it’s wonderful to watch. The character of Taylor is great to watch as it shows his support from before Moore’s fame and ascension. The supporting characters really do support one another. It is a film that, although centred around one individual, tells the stories of multiple people. One touching story is Lady Reed (Da’Vine Joy Randolph) who is cheated on by her husband and doesn’t know what to do with her life. Alongside Moore, she stars in the film and joins him on the stage for stand-up. Although she is assisted by Moore, Lady Reed is strongly independent and isn’t afraid of sticking up for herself and her beliefs. The scene in which she thanks Moore for putting a plus size woman of colour onscreen allows Moore to realise that his project goes beyond entertaining people.

Although it has grabbed the attention of awards panels, particularly Eddie Murphy’s performance, it feels as though Dolemite Is My Name has been swept under the carpet. This could be due to Netflix’s loyalty to its other release, The Irishman, and so they have pushed that far more. In truth, I prefer Dolmite Is My Name as a film because it feels like something new and unique whereas The Irishman brings out what Scorsese does best but nothing that we haven’t seen before. I hope that if anything Murphy gets an Oscar nomination because it would be a real shame not to acknowledge the brilliant work he does on this film.

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In a climate that has seen a rise in racism and extremist politics taking hold, Dolemite Is My Name is a film that is desperately needed. It is thoroughly entertaining and provides plenty of laughs but it equally holds no punches in its subject matter and isn’t afraid to explore the darker truths of society. It’s interesting to think that such a diverse figure such as Moore was renowned and accepted in the 70s but the struggle and work he had to put in to get there is testament to the struggles that African-Americans face on a regular basis. I hope that there are more films like this released in coming years as it is so important to present stories from all walks of life.

What did you think of Dolemite Is My Name? Let me know in the comments below!

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Moonlight (2016)

One of the best Best Picture winners in Oscar history, Barry Jenkins’ coming of age tale follows Chiron, a young black man coming to terms with his homosexuality through three key stages in his life. Split into three segments: Little (Alex Hibbert), Chiron (Ashton Sanders) and Black (Trevante Rhodes), we follow Chiron’s ascendence from bullied child to a successful drug dealer. Sadly, the infamous confusion between the true winner of the Best Picture award when La La Land was wrongly announced. Moonlight’s win was monumental for being the first film to openly discuss themes of homosexuality as well as featuring a predominantly black cast. Aside from its record-breaking and importance in film history, it holds merit as a captivating piece of cinema with innovative direction, emotionally charged writing and characters that hold influence for the entirety of the film despite limited screen time. This is a film that will be remembered for the ages.

It’s incredible that this is Barry Jenkins’ debut feature. It is one of the best debuts in film history and caused a lot of hype going into awards season. Jenkins’ vision comes across fantastically by presenting Chiron as an outsider in his own community. This is important because Chiron’s story is ultimately about being in a minority within a minority (gay within the black community). Moonlight is made up of shorter scenes that give us a glimpse into Chiron’s life. Following Chiron limits our view of the world at large but we still get the struggles across as we see him attending high school and being badly bullied. Jenkins doesn’t feel the need to explain a character’s absence and allows this to come out naturally in the script. Jenkins co-wrote the play with Tarell Alvin McCraney based on the latter’s unperformed play, In Moonlight Black Boys Look Blue. Together they reflected on their upbringings in Miami and were able to apply their own experiences into the script to ensure that it was as real and human as can be. Because of the authenticity and the knowledge of the area and its people, Moonlight doesn’t fall into the trap of including stereotypes that are often seen in films.

The cast all do a superb job of telling Chiron’s story, particularly Mahershala Ali as Juan, a drug dealer who takes Chiron under his wing at a young age. Juan is living with his girlfriend Teresa (Janelle Monae) and the two act as surrogate parents as Chiron’s mother becomes more abusive and neglectful. Juan subverts the tropes that drug dealers are given in film. He is wise, thoughtful and considerate. More importantly, he is sensitive and completely understanding Chiron’s situation almost immediately. Despite only featuring in the first part of the film before his untimely death, Juan’s presence is felt through the film. Ali’s performance is one of tenderness and paternity. What also comes across is Juan’s confidence in himself and his identity. Jenkins is subverting stereotypes and showing a perspective that is needed and long overdue.

The score by Nicholas Britell is among the best of the century so far. The soundtrack is brilliant mix of rap, classical excerpts from composers such as Mozart and original music. The original music is truly stunning with beautiful use of single violin solos to exemplify Chiron’s loneliness. What Britell does is give a separate theme for the three Chirons we see in the film. The themes aren’t distinctly different but feel like an evolution through the film until we get to Black’s theme much like Chiron’s development and understanding of his own self. At times it feels as if the music reflects Chiron himself in the specific scenes as the pace quickens in moments of adrenaline and then eases off in moments of relaxation. Chiron and the music go hand in hand making the music an entire experience through Chiron’s eyes.

Moonlight is a film that stays with you and one that is difficult to forget. It doesn’t shy away from showing the brutality of modern society and the struggles that minorities face. Jenkins solidified himself as one to watch with this film and followed it up with the excellent If Beale Street Could Talk. Moonlight is truly in a league of its own and has brought a new voice to cinema that is needed and valid. Scenes in which Chiron is rejected by his own mother (Naomie Harris), an abusive drug-addict, are revealed bit by bit as they coincide with Chiron’s own understanding of the situation. As his mother uses homophobic slurs against him, Chiron too becomes accustomed to that way of thinking and distances himself from his desires as an adult. Moonlight is one of those films that you can watch time and time again and find something to admire while reaping in the rewards of this cinematic masterpiece. It’s not often when smaller films are exposed to high levels of publicity but Moonlight thoroughly deserves it and is such an important film to note in the way of diversity in its cast and crew, providing a new perspective and a new wave of films that make way for different cultures told by those from those cultures.

What do you think about Moonlight? Let me know in the comments below!

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Who’s Afraid of Virginia Woolf? (1966)

Based on the Edward Albee stageplay of the same name and marking Mike Nichols’ directorial debut, Who’s Afraid of Virginia Woolf? follows older couple, Martha (Elizabeth Taylor) and George (Richard Burton) as the cracks in their relationship between to crack and crumble with the arrival of newlywed couple Nick (George Segal) and Honey (Sandy Dennis). Very much like the stage production, the film itself is minimalistic and relies on the strength of the actors’ performances which is provided in spades. Elizabeth Taylor who gives her best performance since her Tennesee Williams duo with Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959).

The screenplay is nothing short of amazing. Adapted by Ernest Lehman and there are only minor differences to the film, largely due to location. The Albee play is set only in Martha and George’s house whereas the film gives us a short break in a local roadhouse. It’s not a change that creates any detriment to the film and makes for an opportunity to see how these characters act outside of the comfort of the homely setting. Martha and George’s son is given a name in the film, Nick, in the film adaptation but does not have a name in the play. Again, this is an understandable change as it creates a more emotional charge for the audience as it feels more “real” and relatable when giving him a name. This is similar to the narrator in Truman Capote’s novella Breakfast at Tiffany’s who is given the name, Paul Varjak, which probably makes it easier to confirm especially when protagonist Holly Golightly refers to him as “Fred” after her brother. Changes as small as these don’t compromise the vision of the film and in Lehman’s case, it brings a different dimension to Albee’s play and enhances it in some ways.

Taylor had had her fair share of turbulance with the press and public as her lifestyle and general sexuality was judged and she was seen as a poor role model but this film allows us to see that she isn’t afraid to “deglamourise” and get gritty when needed. She has always been a brilliant actress as previously proven but portraying Martha gives us a chance to see the darker side as Martha manipulates and instigates. She is such an unlikeable character but Taylor has such a presence that it is impossible to feel Martha’s power as she dominates with her physicality. She manipulates the audience into feeling how she wants them to feel, gaining sympathy when needed and repulsion when required. Her performance is nuanced and showed that her career was far from over.

Richard Burton on the other hand plays the oppressed husband waiting to explode as Martha provokes again and again. One of the best actors of the Golden Age of Hollywood, Burton was seriously undervalued during his lifetime and found himself without an Oscar despite seven nominations under his belt. This was indeed one of those performances and despite his brilliance, this really is Taylor’s film. That isn’t to say that his performance isn’t excellent because it is among his best of the best and shows the potential that he was capable of being succombing to alcoholism.

The supporting actors, Segal and Dennis shine as the young couple seemingly in love. The longer they spend time with the miserable elders, they start to see parallels in their own relationship. Sandy Dennis is particularly eyecatching as Honey, the initially subdued housewife who then begins to disagree with her husband. It captured the Academy’s attention as well who award her with the Best Supporting Actress gong. The arrival of the young couple gradually means that the film becomes a game of Chinese whispers as secrets are thrown around to the wrong people and conflicts happen every five minutes. It’s a spiderweb of the complexity of relationship and ultimately seeks to find the foundation of their relationship and destroy it. The ending then leaves the question of what happens next as their years of marriage and lies lay bare in front of them.

The film is a great example that plays can be adapted successfully to the big screen without making big compromises. The film allows the actors to bounce off each other rather than blending into a spectacle. Seeing Taylor and Burton onscreen is always a treat as well and to see such volatile performances makes the film raw and honest. It’s a film that feels enormously progressive for its time as the couple grieve over the death of their son, deal with their bad habits and open up about their tumultuous marriage. The characters are not trying to be likeable because they react as their character would react rather than catering to a Hollywood audience as the big studios would play it.

What do you think of the film? Let me know in the comments below!

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Fleabag (Live Screening, 2019)

“He’s so bony… it’s like fucking a protractor”

Over the past few years, live viewings of National Theatre productions have increased in popularity with sold out screens all over the globe. Admittedly, I have never attended (mainly due to the price) but when I saw that Phoebe Waller-Bridge’s brilliant one-woman show Fleabag was going to be screened live from the Wyndham’s Theatre, I knew I had to go. As an avid fan of the show and Waller-Bridge, I have been counting down the days to see this and I was wasn’t disappointed. Fleabag follows a young woman as she navigates a life filled with heartbreak, relationships and a lot of sex. She is the sole owner of a guinea-pig themed café after her best friend, Boo, accidentally-on-purpose commits suicide. This run of performances marks Waller-Bridge’s last venture as her iconic creation and all tickets sold out within minutes making it one of the most anticipated theatre trips of the year. Sadly, I was unable to get tickets but I took this opportunity to see it immediately as I knew I would regret it instantly.

Fleabag herself is gritty to the extreme. She’s unfiltered, unapologetic and always thinking and talking about sex but she’s also complex, smart and relatable. I think this is why the character is universally loved. The character is a brilliantly rounded portrayal of the 21st century woman. A true modern feminist hero (even if in one hilarious slip, she admits that she would trade 5 years of her life for the “so-called perfect body”). She’s brutally honest, hilarious and riddled with bad habits such as excessive drinking, smoking and masturbating while her partner sleeps beside her. It’s as if Fleabag breaks every rule in the book and is a walking taboo.

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Waller-Bridge’s script and Vicky Jones’ direction are impeccable. Every move and expression is calculated and enhancing the dialogue. It’s compact and tight with every segment executed perfectly. The setting is minimalist to the extreme, Fleabag and a chair in centre stage but the performance Waller-Bridge brings is anything but. Dressed in a red jumper and jeans, Waller-Bridge transports us to various locations around London, acting out different characters such as her sister, a job interviewer and regular café customer, Joe. I was interested to see if I would be as invested when watching it on a screen rather than in the theatre itself and I found myself transfixed. The camera work was brilliant and the sound was impeccable.

Compared to the BBC series, the stage production is grittier and sadder than its counterpart. The first episode covers the show with the revelation of the first season finale so a lot is added into the TV series. Fleabag seems even more unfiltered and unhinged in the stage production which I didn’t think was possible and it was great to see some familiar moments that I recognised from the show.

I wasn’t too sure what to expect but it was a brilliant experience and I hope to go to many more National Theatre productions. The atmosphere was great and everyone in the theatre audience and cinema audience were completely invested in her story. I expected to laugh which I did in abundance but I wasn’t expecting to cry as much as I did. A heartbreaking segment with Fleabag and Hilary, the café’s mascot guinea pig, is horrific to watch and brought an array of gasps and tears from both sets of audiences. There’s an encore screening in October and I recommend that you book tickets as soon as possible. It’s a brilliant and refreshing piece of theatre that shows how a simple production can create a complex experience.