Capturing Transience: The V & A Relaunches its Programme of NVAP Screenings

Last year marked the 20^th anniversary of the National Video Archive of Performance (NVAP). The NVAP is the unique result of a collaboration between the V&A Theatre and Performance Department and the Federation of Entertainment Unions, which has allowed the creation of an archive of theatrical performances from across and beyond the West End for the last 20 years. Although established as a research resource, last year the V&A hosted two programmes of free screenings every Sunday in the first two quarters of the year as a celebration of the NVAP's 20^th anniversary.

It was, in a word, brilliant. To have access generally to this resource is a wonderful thing for all involved in the industry, but to put together a programme which allowed free viewings of past performances felt like a gift, especially to those among us who cannot afford to indulge their passion for the theatre as regularly as we should like. Although initially worried that the unique atmosphere generated by live performances would be lost and to lost to the detriment of the pieces, I soon realised that this was not the case. The productions chosen were so strong in casting and direction that they transcended this boundary and remained strikingly impressive and relevant even in a medium for which they were not created. Even Waiting For Godot, a piece that – and I'm sure this admission will engender some horror – I cannot normally abide, was engaging and entertaining. No small feat, to be sure. From The Alchemist to Polly Stenham's second play Tusk, Tusk to John Osborne's era and generation-defining Look Back in Anger, we were shown familiar classics and new writing, plays that had been produced in the mid-nineties and plays that had been played only the previous year.

The V&A and NVAP returns this year with another programme of screenings, including both major successes from last year (the hugely popular Hedda Gabler with Eve Best and Benedict Cumberbatch and Butley with Dominic West) and new productions, such as The Recruiting Officer, starring Mark Gatiss and Mackenzie Crook, which played just last year at the Donmar Warehouse. With a programme as strong as this, it is bound to be just as successful a venture – and as rewarding – as last year. Entry is free but seats are on a first-come, first-served basis, so arrive in time to avoid disappointment. Screenings, unless otherwise stated, are held in the Hochhauser Auditorium at the V&A at 2 p.m. every Sunday 6^th January - 24^th March (excl. 17^th & 24^th February).

For the full programme of events click here.

Happy New Year!

A very happy new year from Breaking a Leg Hurts! 2012 was a great year for West End theatre with Matilda walking away triumphant from the Oliviers with 7 gongs, the new play Constellations (starring Sally Hawkins and Rafe Spall) set to make its own mark across this awards season, and Alan Bennett's new play People sold out at theNational's Cottesloe until April this year. We saw tiumphs of engineering, composition, music, and dance come together under the ever audacious and exciting direction of Danny Boyle to create certainly one of the most unique and intimate Opening Ceremonies recorded at the Olympic Games. Equally, whilst shops languished due to the mixed keep-off-the-streets-go-shop-shop-shop messages put forth in the run-up to the Games, the theatres made a killing; Yours Truly tried to go see a number of plays quite spontaneously over this period only to find that there were no tickets available for love or money. I found myself unable to resent this situation; it just goes to show that when it comes to attracting the tourists, our West End truly is the goose that lays the golden egg, as the mayor of London recently mentioned in defence of the arts.

This brings us, briefly, to the downsides of 2012. Cuts in the arts budget throw into uncertainty the future of smaller galleries, arts spaces, centres, and theatres. Provincial theatre, such a valuable aide in the continued education of actors young and old, has been struggling with this situation for years. Whether or not the shortfall really can be covered by private donations (or maybe, who knows, a revival of patronage) is something which remains to be seen. At the end of the day, however, what we have to remember is this: London may have been considered to be Europe's financial centre - perhaps it still is - but it is also the centre for world-famous theatre. To experience such a quantity and breadth of theatrical productions, styles, genres, and innovation in one place, the only alternative would be Broadway. People fly from other continents to see one show in London. That's what we as a country and community can do, have done, and will continue to do: world-leading theatre and culture for poorer for richer. Bring on 2013!