NYE

UK, 2024, 60 minutes, Colour.

Michael Sheen.

Directed by Rufus Norris.

This is a welcome addition to the series of National Theatre is seven (in fact, the hundredth entry).

The significance of the series is that theatrical performances, especially from London, are made available by screen capture (the documentary shown during the interval gives some insight as to cast and director looking at and assessing the impact of frames of sequences, and the positioning of cameras in the theatre).

This is a play written by Tim Price. It is highly theatrical insofar as many devices are used for the stagecraft which are particularly theatrical and could not be used in a cinema version of the play: the use of curtains being opened and closed to indicate a range of locations, hospitals, parliamentary discussions, the House of Commons, office of the Prime Minister… And, on the curtains, the projection of all kinds of hospital imagery, sonar, strobe lights, as well as graphic background of crowd scenes. While this is acceptable/welcome in the context of audience presence in the theatre, National Theatre Live offers the cinema or home audience the equivalent experience.

The Nye of the title is the famous left-wing, socialist politician from Wales, a former miner,   Aneurin Bevan known as Nye. Audiences not familiar with him and his career, there would be a recommendation for audiences to do some pre-watching homework – even the brief initial summary of his life and career in the Wikipedia article. Audiences would be then on the wavelength.

As Nye, Michael Sheen gives a bravura performance. This reviewer saw him as Mozart to David Suchet’s Salieri in Amadeus in the West End, 1999. In the 25 years since then, Sheen has made a name for himself in films, playing Tony Blair three times, playing David Frost in Frost/Nixon, on television in a number of series, especially Masters of Sex. Here he is on stage all the time, the opening in a hospital bed in the aftermath of surgery, wearing red striped pyjamas which he wears throughout the play.

The play’s structure device is stream of consciousness, Nye emerging from his bed often, reenacting various sequences: school days when he stammered, with a cruel caning teacher, to discussions about the mines, to his growing political awareness, to World War II, a vivid confrontation with Winston Churchill, his challenging and condemning Churchill, the postwar era and discussions with Labour Prime Minister, Clement Attlee, and the issue of his taking up the Health ministry. There are also sequences back with him in bed in the hospital, the visit of his wife, Jenny Lee, her political role, her role as his wife, especially during this illness.

In the middle of the first act, there is some exuberance with a song and dance routine, Get Happy – preparing for the judgement day!

But, the key issue is Bevan’s achievement with the National Health scheme some intense discussions, especially with the deputy labour leader who opposes the scheme, even having something of a vision, his enthusiastic rhetoric, remembering the collaboration of the miners in his past, a health scheme in Britain which would treat people equally, making health readily available, something which he achieved in 1948.

The impact of Nye will depend on audience interest in politics, left-wing and conservative, knowledge of British politics during the war and in its aftermath, is one achievements.

With its stream of consciousness narrative, with extra experimental stagecraft, with Michael Sheen’s enthusiastic and articulate performance, this National Theatre Live performance capture is striking.