Double Feature - Edgar & Annabel/The Swan
From: Monday, 18th July 2011
To: Saturday, 10 September 2011
Our Review: 
Your Reviews:
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Synopsis
A new ensemble takes over a transformed Cottesloe Theatre this summer to present four short plays by writers new to the National Theatre: Tom Basden, Sam Holcroft, DC Moore and Prasanna Puwanarajah. A live band and a single group of performers and theatre-makers will premiere the two double-bills. Suitable for 15yrs+
Our Review:
Terri Paddock - 5 August 2011
As found spaces go, the Paintframe is pretty spectacular – and the National didn’t have far at all to go to find it. Situated on the east side of the South Bank complex with a tiny box office and entrance wedged down an alley beyond the Cottesloe, it’s converted from the NT’s scenic studio where large-set canvases are normally hung and painted.
A trail of paint leads audiences to the venue, and paint cans, brushes, rigs and other industrial equipment remain scattered about, reminding you of the space’s customary function. Temporary bench seating with un-upholstered cushions adds to the rough-and-ready feel.
Normally, the public would only ever see the Paintframe on a backstage tour. The Double Feature season offers a chance not only to see it, but to see it put into thrilling action. Each of the four plays has a different set, assembled and dismantled before every staging. During a 20-minute interval, the audience must leave their ...
Latest User Review
Steve - 20 August 2011:
Double Feature 1 was good fun, but I think I would have preferred either The Swan, or Edgar and Annabel, to simply be twice as long, and flesh out their material more thoroughly. Both mini-plays are memorable, though the players in Edgar are just a bit too comedic and matter-of-fact for my taste, not fully conveying the horrible danger they are in, sacrificing suspense for laughs. The players in The Swan are far more convincing, though this play doesn't have the sophistication of the previous play's structure, nor it's topical CCTV Big Brother society resonance, relying instead on the playwright's pithy realistic dialogue to jazz up what is effectively a series of soap-opera style reveals. Claire-Louise Cordwell is wonderfully brash, which the play hilariously has her attribute to ADHD. Trevor Cooper succeeds in blending the use of foul swearwords with a deep tenderness....
Creative
National Theatre (Producer)
Lyndsey Turner (Edgar & Annabel) (Director)
Polly Findlay (The Swan) (Director)
Soutra Gilmour (Design)
James Farncombe (Lighting)
Carolyn Downing (Sound)
Bret Yount (fight) (Director)
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