Helen Mirren in Phedre - NT Live

Last night I participated in a grand experiment. The National Theater in London did its first live broadcast to movie theaters all around the world of its acclaimed production of Phedre starring Helen Mirren.

I will say that it was a triumph on almost every level — including the least obvious (and most desired) that it will not replace wanting to see a production in person, rather it creates a greater appetite for seeing live theater.

Phedre is Racine’s great tragedy — written in French and first performed in 1677 — in modern times Diana Rigg performed a memorable version. The current production is based on poet Ted Hughes’ translation from the 1990s and is staged by Nicholas Hytner.

Helen Mirren has been getting raves for her maximalist unrestrained performance.

So when I read that the broadcast was being shown for one night only in Los Angeles at the Mann’s Chinese 6 — I signed up — via movietickets.com . The price was $20 (and a $1 service charge). Compared to flying to London and buying tickets (if you can get them!) — this was truly a bargain.

Now — events conspired to make this one crazy night to go to Hollywood: Not only was Hollywood Boulevard overtaken by Michael Jackson mourners, but Hollywood Boulevard in front of the Mann was closed off for the “Bruno” premiere.

Despite this, the Mann’s Chinese theater one (not the main theater but the first of the side ones in the Hollywood and Highland complex) was full, with the sort of folks you could expect to see at serious theater in LA — the age range skewed high, but there was as much age diversity (if not economic and racial) as you might find at the Mark Taper forum on a good night.

There seemed to be a good amount of people who knew each other or who were conversant with theater and what’s playing in London.

Also in attendance was Taylor Hackford, who is married to Helen Mirren.

The theater filled and we were treated to sight of the National theater in London — the seats there filling, shots of people having drinks on the terrace looking out over London — was that St. Paul’s in the background. All this contributed to the excitement.

Then the program began both with a few minutes intro by Nicholas Hytner about the play and the production including the incredible stage set by Bob Crowley (very stark and dramatic), then a strange loosey goosey interview  with Hytner conducted by a very bohemian looking Jeremy Irons, and then the play began.

It was filmed by five cameras and the idea was to take you where the eye might go in each scene.

Watching Phedre in a movie theater did not feel like watching a movie — it felt more real — in some ways, more dimensional. Also because of the brilliance of the play — you were forced to pay attention to the words, to the language, which is not one’s typical movie going experience — nor is it really what happens when you watch classics on PBS or other TV stations.

That being said, the difference is that you never feel the magic of live performance, the intensity of being in the room when the actor makes it happen for those moment — and missing that — it makes one hungry to see the actual stage production or other stage productions.

Seeing a play in a movie theater is different in other ways — one is less inhibited about getting up and stepping outside — you can bring popcorn, soda and candy inside and munch throughout. Also the audience is less shy about laughing at moments intended and unintended (one can almost imagine moments of watching a play like this with an audience that shouts at the screen).

So it is in some ways a lesser experience, and in others just a different experience. But it is not one without value. Seeing Helen Mirren’s performance — an interpertation of Phedre that bordered on madness and derangement — was incredible. I was also very impressed by Dominic Cooper (he is on his way from pretty boy to leading man), and John Shrapnel’s fine and edgy Theramene.

The play flew by –without intermission, and its sublety and wit and intelligence of the tragedy in all its classical dimension unfolded in a manner that seemed modern — or at least that made us reason that man may have advanced in many ways — but when it comes to character and motivation, when it comes to lust and love — a play from the 17th century can speak as deeply (if not more) than our current fare.

The National Live experiment is part of a trend — The Met and La Scala are broadcasting their productions. Others may follow. Should this trend continue, how great would it be to able to see other great London stage productions or something from the Abbey in Dublin, or regional productions, even a surtitled production from The Comedie Francaise? Globalization may be coming to your local theater — and your local movie theater.

Sorry, the comment form is closed at this time.