Foodwork - Network at the National Theatre

I like going to the theatre, and I like eating out, so when I saw that the National Theatre was running a ballot for the chance to book tickets to their pop-up, on stage restaurant, where you would get to dine while attending a performance of 'Network', I entered, and was successful. (I don't know who many entries there were, but there was seating for 42 people on stage, so I was very pleasantly surprised when I got the e-mail to say I could book tickets! )

We had our own entrance, and were (after a short wait) then met by very cheerful serving staff (actors hired as servers for this production, from what Phillipe, our bartender, told us) met us, took our 'reservation' details and led us to the 'restaurant', which is stage left, with clusters of small tables, and then the bar (where we were sitting).

Not a view you get very often, when going to the theatre!

We were let in about 40 minutes before the play was due to start, so we were allowed  to wander out onto the stage (as long as we didn't stray of the shiny copper floor, onto the far side of  the stage, where there were props and fancy electronics, and actors preparing for their roles.

view of stage from the bar

view along the bar towards the kitchen ( featuring Phillipe)

Our seats were at the bar, with two rows of tables in front of us, so we had an excellent view of the stage, and of the big screens, and the auditorium (empty when we arrived, of course) 

Stage, pre-show - fellow diners exploring

When we arrived, we were offered wine or a cocktail, by lovely bar-tender Phillipe (sporting a superb 70's 'tache and mullet)  and, then, after having the chance to wander around on the stage,  the food was served  - we started with butternut squash, kale and shallots. (very tasty) 

As we dined, we could see the auditorium filling up with the rest of the audience, and the Big Clock counting down to the start of the play.

View from our seats!

The menu then took a 70s turn to fit with the play, and we were served with a portland crab cocktail (complete with iceberg lettuce and marie-rose sauce)

Not, I confess, my favourite part of the meal, but entirely appropriate for a play set in 1975!

Did I mention we could see members of the cast preparing on the opposite side of the stage? 

Phillipe, our bar-tender, and the view into the auditorium

As we finished our crab cocktails and waited for the main (Short Rib and Ox Cheek Bourguignon)   the countdown came to an end, the lights went down, and of course all our phones and cameras went off.

I knew that the play is based on the 1976 film, Network, but having not seen the film I didn't know what to expect. For those in the same position as me, the basic premise is that news anchor Howard Beale (Bryan Cranston) learns that he is being sacked, due to falling ratings. 

He responds by announcing, live on air, that he will kill himself on air at the end of his 2 weeks notice, resulting in the network taking him off air immediately. However, his manager Max Shumacher (Douglas Henshall) persuades the bosses to allow him one final appearance so he can retire with dignity. Which isn't quite how things pan out... Howard's broadcast is anything but a dignified exit, but it creates a huge ratings spike.

Which prompts Diana Christensen (Michelle Dockery) to successfully pitch the idea of giving him a show of his own, as the angry / insane man, raging against the world.

I thought it was very interesting, and that Bryan Cranston was excellent, particularly during the period Beale was suffering a breakdown. I also enjoyed Michelle Dockery's performance, although I did feel that her character was someone one-dimensional: Christensen is ambitious and intelligent, but is portrayed as very hard and unsympathetic, unlike the male characters who are all rather more rounded characters.

There's a lot of use of technology - 2 mobile cameras, their output shown on big screens behind the stage, as well a pre-recorded footage and original, 70's adverts and newsreel clips. There is a lot going on on stage, and it's very clever, but at the same time, it felt to me that this, like the whole concept of having the restaurant on stage, fell into the category of stuff which was fun, but unnecessary, as if the director is unwilling to trust that an audience can imagine that his characters are visiting a restaurant, even without importing 3 dozen members of the audience to dine on stage, or that the actors can convince us of the reality of their situation. I have more faith in both audiences and actors, I think it could have worked very well without those extras. But it was fun.

And I can, of course, now boast both that I have appeared live on stage at the National Theatre, and that I have a dining experience few can boast of!  I do think it would have been fun to see it again, without being part of the set, but as it sold out, and closes next Saturday, I won't have the chance.