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.