It feels like an age since Rufus Norris announced that he would be stepping down as the National Theatre’s supremo and quite some time since we learned of the subsequent appointment of Indhu Rubasingham to take over the role. Finally, this week, it feels as though the transformation is complete, as the new Director has revealed details of her opening season.
She might be very grateful that her theatre is situated in London rather than the United States and, more particularly, Washington. As those interested in these matters will already have been shaken to discover, the President of the United States has graciously agreed to become Chair of Washington, DC's John F Kennedy Center, and there is very little possibility that he would look favourably on the programme proposed at the National.
More widely, his administration froths at the mouth when any favour is shown towards anyone but rich, elderly white men and would quite happily like DEI (diversity, equity and inclusion) to DIE. Censorship is likely to be back with a vengeance across the United States in the very near future, as an aggressively bombastic government attempts to silence anything that does not meet with its approval.
By way of contrast, as can be seen from the news article published earlier in the week, the work and individuals selected to launch the new era on the South Bank are inspired by the principles of diversity, equity and inclusion.
Even so, traditionalists might heave a sigh of relief to discover that a lot of classic work makes the list. The big question is whether the versions delivered will be faithful or modernised to an extent that they bear little relationship to the originals.
Time will tell but the reign opens with Greek tragedy in the form of a new version of Bacchae written by Nima Taleghani and directed by Indhu Rubasingham herself. Having almost disappeared from the repertoire during the Norris years, Shakespeare also arrives early as Robert Hastie directs an Asian-slanted Hamlet starring Hiran Abeysekera.
Modern classics also rank high on the agenda, offering the chance for one of the UK’s hottest young actors, Paul Mescal, to make his NT debut with a repertory company in Arthur Miller’s Death of a Salesman and A Whistle in the Dark by Irish playwright Tom Murphy.
Rudyard Kipling kind of gets a look in, although one imagines that a new version of The Jungle Book penned by Anupama Chandrasekhar and once again helmed by Ms Rubasingham may eschew the original’s colonial roots in favour of something more diverse.
The LGBT community will be pleased to see a new musical version of award-winning film PRIDE making an appearance, with the promise of strong representation going forwards. Other exciting prospects include revivals of Playboy of the Western World, Cloud 9 and Les Liaisons Dangereuses, plus two new offerings from black playwrights, the American Tracey Scott Wilson and "the godmother of black British playwrights", Winsome Pinnock.
There is also a series of collaborations with various theatre companies including two in New York, a long-time favourite with UK companies, BAM (a.k.a. Brooklyn Academy of Music) and relative newcomer The Shed.
Outreach is clearly remains an important part of the mix, with Bacchae touring to schools after its run on a main stage and The Last Wild, a collaboration with the Unicorn that will be “supercharging primary school engagement”.
With a wide range of actors, directors and writers, there should be something for everybody and, just in case the high-profile names including the National Theatre debut of Letitia Wright are not enough to bring in screaming crowds, there is also to be a collaboration with rapper Stormzy.
We will have to wait until the year after next to find out what on earth that might be, but the National Theatre newcomer is certainly thrilled about the project, commenting, “I’ve always been drawn to theatre and over the past few years I’ve loved going to all kinds of plays and musicals. It’s such a unique space where storytelling, music and performance all come together in the most powerful way, and there’s something about experiencing theatre that’s always stayed with me. When I went to see Indhu at the National Theatre, we properly hit it off and I’m excited to go on this creative journey with her.”
One fears that if POTUS decides to venture down to London after drooling (should that be ruling?) over the King and Queen at Balmoral, he might be well advised to steer clear of our National Theatre.
By way of contrast, anyone who loves the classics or has a sense of adventure is likely to find plenty to appreciate across this wildly varied season.