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National Theatre
Performing Arts Theater
Today 9:30 am – 11:00 pm
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Upper Ground South Bank London SE1 9PX, United Kingdom
Upper GroundGBLondonSE1 9PX
+44 20 7452 3000nationaltheatre.org.uk
Performing Arts Theater, Theater CompanyToday 9:30 am – 11:00 pm
Monday 9:30 am – 11:00 pmTuesday 9:30 am – 11:00 pmWednesday 9:30 am – 11:00 pmThursday 9:30 am – 11:00 pmFriday 9:30 am – 11:00 pmSaturday 9:30 am – 11:00 pmSunday 12:00 – 6:00 pm
At its home on the South Bank of the River Thames in the centre of London, the National Theatre performs over 20 different shows every year.
Open 52 weeks of the year, 6 or 7 days a week, you can see up to 6 different shows in a week. 

Talks and workshops offer a glimpse into how theatre is made. 
Cafes, restaurants and bars offer places to relax and free exhibitions are staged throughout the year.
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4.4
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Home to prominent theatre company presenting new plays, classic drama and Shakespeare productions.- Google
"Both times, they have been in the Olivier theatre which I really like."
"Until fifth of October you can see Othello by William Shakespeare."
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Mary McNie
4 months ago
Last night I saw your touring production of "The Curious Incident of the Dog in the Night" at the Festival Theatre in Edinburgh. The acting of the main character was sublime - most certainly the best I have seen in a very long time. Mary McNie ALAM
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Adela Kacorova
a year ago
I went to see a Shakespeare play (King Lear) yesterday and thought the theatre (Olivier) was very comfortable and had good acoustics. I enjoyed the play and felt lucky to have obtained cheap, young persons tickets. I think it's brilliant how the theatre is making plays accessible to young people and ensuring that money is not a barrier!
scott hylands
a year ago
I saw your cineplex version of Lear and was flabbergasted at how awful it was. Truly depressing. One would think that by now the National would have figured out how to make a good film from a stage play. Basically it's impossible, they being two different forms- but at the very least the actors in such an endeavour should be schooled not to over exert their voices. It seems as if all of them are looking for a certain brass note to hit, which must represent some sort of bullseye for optimum impact. Nothing could be further from the truth. Robin Phillips of Stratford Canada renown stuck tiny microphones in everybody's hairline to mitigate this problem. Andrew Warchus, who directed me in a version of 'Art' in Toronto, was adamant on this issue. He maintained that speaking louder than is credible destroys duh credibility. The solution for him was adroit staging, speech that was carefully aimed rather than being dumped into the general air, and a clarity aimed for row 12, not row 25. Lack of awareness about the phoniness of voices too loud is what persuades many people to avoid live theatre. I could go on- the Mendes staging is excreable, the mercenaries who accompany Lear for awhile all look as if they've just come from an audition for Britain's top male model. And what is the relevance of modern dress in a play steeped in superstition? Why does the Fool have an ill fitting suit? Why does this Lear conjure Shylock? And for Edmund to wear glasses being the obedient bastard, and whipping them off to reveal his true self- Sam's been staying up late watching Superman movies. I mean for Christ's Sake this is slop.
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Pierre Decote
a year ago
Ate at the terrace restaurant on 2nd floor. Ceviche was incredible and steak tartare out of this worls. small portions but very nice for a variety of tastes. very chilled atmosphere. a favourite
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Dianne Marcos
10 months ago
In October 2014, I went to see Here Lies Love at the new Dorfman Theatre. Imelda Marcos' life portrayed through disco music is something quite surreal. It had elements of immersive theatre, and the story was sometimes satirical, sometimes hard-hitting... and then the bass drops and everyone dances. Even saw David Byrne nodding his head and singing along to his own musical! I had lots of fun and would recommend seeing it if you have an open mind, and it helps to read the programme beforehand so you understand what's going on. This is Filipino history told through dance music in London's Southbank!
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Dec Hardy
9 months ago
Great venue for a many different things. Over the years I have seen many breathtaking performances and enjoyed the many bars. If you get the opportunity, go visit the architectural monstrosity.
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Heather Keskinen
a year ago
To Whom It May Concern: On Friday 23rd May, I went to see your production The Roof along with a few of my friends. We were excited by the promise of highly-skilled parkour displayed on your publicity material. The extraordinary publicity photo promised dangerous stunts, backed up by the copy which included the description 'breathless' and advertised the 'hair-trigger movement of free-running' along with the assurance of experiencing the empathy of being transported 'into the body of a reluctant hero, desperate to stay alive'. So our appetites were whetted and we came to terms with paying the high entrance fees, under the understanding that this event would be one of the high point of this year's MayFest. Upon arrival, the set agreed with our expectations, with the safety net backing up our confidence that we would witness dangerous-seeming stunts performed by professionals with years of highly-developed experience. Imagine our disappointment when the show started at a snail's pace, with the lead character failing to connect with the audience - he appeared to be marking through the actions rather than living them. But then, the show had only just started - it was necessary for the performers to establish the scene - and the show was set within a game, so we were prepared to accept our immediate sense of slight disappointment, in the expectation that our forbearance would be rewarded by the action to come. Patiently, swapping our weight from one foot to the other, and using the barrier surrounding the huge numbers penned into the central round as a partial support, we watched the dragging action unfold. The repetition, although rendering the pace of the show painfully slow, must be necessary for the establishment of the game-trope, so we bore with its patronising tone. After all, the skill-level would be worth it in the end. My friend's headset broke, meaning that she could no longer hear the soundtrack. The soundtrack itself was obviously original and may have incurred much expense, although this is not an excuse for a product of inferior quality. To be honest, my friend, lacking the soundtrack, was no more confused than any of the rest of us in trying to follow any sense in the disjointed images which appeared. At one point an announcement told us that the last scene would have to be restarted. The repetition once it took place, although including one more performer than previously still made no more sense and would have been better omitted to improve the flow of what was turning into an embarrassing vigil. Still we waited. We had not yet seen any parkour more skilled than a forward roll, and despite being six months pregnant, I feel that I would have been able to provide a more acrobatic display. One performer obviously had some body awareness, but did not yet share any exciting tricks with us. We recently went to watch a BTEC student show at Circomedia, and within the first five minutes witnessed more highly-skilled parkour than in your entire performance. I am extremely disappointed. Bella Kinetica are performer friends of mine who achieved an emotional connection with their audiences which was well-documented by reviews of their work-in-progress which they paid for themselves. They were refused Arts Council funding, presumably because shows such as The Roof swallowed up all budget. What a waste of money! The finale never came. As one of your positive reviews by Emma Grimshaw in the Bristol Evening Post stated, 'When the finale arrived there was definitely a lot of confused people standing by, wondering if the show had actually finished.' At this point, we could no longer forgive the waste of time and ridiculous expense. As a regular theatre-viewer with the Bristol Old Vic for the past fifteen years, I have never before been moved to write a letter of complaint. Receiving our money back would begin to address the issues listed above. Heather Keskinen
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Giles Hutchings
a year ago
An interestingly designed building with lovely auditoria inside. I went to see Great Britain in the Lyttleton Auditorium and I loved it! The plays are at a very high standard.

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Matt Bee's profile photo

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