#ntnetwork

Even now the very last show of The National Theatre’s Network is in it’s final minutes. What an historic production, one that will be long remembered in the world of London theater. 

I believe a podcast may come out soon and that would be far better than my recollections.

No one thought to ask how she became attached to Network. Michelle said she watched the movie for the first time after getting the part, careful not to let it influence her. But she regrets doing that because it would’ve have been easier to avoid the source material entirely until after it was all done. Her co-star Douglas Henshall also said he avoided seeing the movie and not once during rehearsal or production did anyone reference the movie because they wanted to make it their own. Michelle was glad she was not told of Faye Dunaway being in the audience until after the show and they met at the bar, otherwise she would’ve been too distracted.

Both actors said they felt far more at home on stage than filming as this was where they started their careers. Henshall compared theater to a live band and film/TV to releasing an album. Michelle said acting in front of a camera crew felt less personal. This play was perhaps too personal, as the audience can see the actors in make up as they prepare their entries. Also it has on stage dining which means some audiences are sitting right next to them. 

There’s a scene where apparently Michelle and Douglas make out on a couch, which takes place right next to some guest’s dining table making the scene awkward for everyone, especially for the diner whose reaction is projected on screen to the amusement of the entire audience.

Then there is an intro segment with Michelle and Douglas that is filmed just outside the theater that is projected live inside. Since this is a very busy part of London they are at the mercy of random people going about their business. One time they ran into Paddington 2 premier event outside. Michelle joked her dad Hugh Bonneville was upstaging her once again.

Michelle also said she’s watching Stranger Things and supernatural themed stories frighten her and her mom makes fun of her for it because she should know better that it was all done with camera tricks.

Dressing to Play a Power Woman - The New York Times

👚 As an ambitious and powerful TV exec, Michelle's wardrobe consists of "bright, clashing colors, strong lines, and pants." Costume designer Ann D'Huys, said this represents that Dockery’s character, Diana Christensen, is “not a team player. It’s not a choice of everyone; it’s her own choice. And a signal that ‘I can wear what I want even if the colors aren’t matching together’”.

👠 “Platform peep-toe heels were swapped for simple black leather round-toe court shoes, because the first style hurt Michelle's feet, and ‘it's important to be comfortable to show strength’”. Michelle agreed, adding that the physical demands of playing an executive in today’s media world, mean that lower heels are the modern power shoes.

👖 Her red, flared trousers are central to the character’s look, as “they are masculine and Diana has to fight in a man's world, and they even help her stand in a more powerful way.”

👕As Diana's power fluctuates through the play, so does the vibrancy of her clothes. She dons a luminous yellow shirt when she believes she has hit the ratings jackpot. Later, as her personal and professional lives go awry (her lover leaves and ratings plummet), more subtle, smudged colors appear, in the form of dark green, wide-leg pants.