The National’s latest production of Coriolanus boasts cinematic scenes of combat, a talented and vital lead, and a painfully contemporary plotline that charts a hungry citizenry, public riots, battle scenes, political machinations, and a social cancellation worthy of 2024. This is a tragedy of epic proportions, and the National does it good service.

David Oyelowo plays tragic Roman General Caius Marcius Coriolanus with enviable ease, running through Shakespeare’s verse and prose at speed, eating the very air before him.

Kobna Holdbrook-Smith is equally mesmerising as Caius’ opposite, Volscian general Tullus Aufidius. Their speech and presence on stage are beautifully contrasted, Caius so rash and contemptuous, Tullus more considered and brooding in his hatred. Their single combat scene is masterfully choreographed across the vast Olivier stage. Flashes of light, music, movement fast and slow, the fight is reminiscent of 2002’s Troy.

This is a tragedy of epic proportions, and the National does it good service. This is a tragedy of epic proportions, and the National does it good service. (Image: Misan Harriman DSCF816) After gaining glory at the battle for the town of Corioli, Caius returns to Rome to run for office and faces a different sort of opponent – tribunes Brutus and Sicinius, played with suitable officiousness by Jordan Metcalfe and Stephanie Street. So convincing were their desperate grabs at power and influence, so feeble were they in personhood, I felt I had been afforded special access to a real-time government and shadow cabinet meeting. Next to Oyelowo’s uncompromising warrior Caius, they stood almost faceless, vaguely repulsive. He, a man of action, and them with no action, only words of blame.  

Es Devlin’s set design echoes the palatial galleries of the British Museum – the ones they reserve for their grandest fundraising efforts. Imposing sculptures of bronze, impenetrable slabs of stone – the materials and objects of centuries that will outlive us all. Devlin’s vision is bold and operatic in its realising, a set worthy of Rome and of Coriolanus.

Like many of its contemporaries, the production couldn’t help but make use of on-stage cameras, microphones, and projected video (many of us are still reeling from Jamie Lloyd’s Romeo and Juliet). Shakespeare requires none of these fripperies, but granted it’s visually effective. And yet, it directs your attention away from the actors towards a screen. If I wanted to watch a video I’d subscribe to NT At Home.

Tickets can be purchased at nationaltheatre.org.uk.Tickets can be purchased at nationaltheatre.org.uk. (Image: Misan Harriman DSCF816)

Peter Forbes is too funny as Menenius, and Pamela Nomvete is unforgettable as matriarch Volumnia – she held every pair of eyes in the audience when she took the knee before her son. In essence, this is a first-class production of a timeless play, with a first-class cast. When Coriolanus is condemned to exile, Oyewolo raises the bar even higher.

At times, it is a searing political and social satire, at other times a condemnation of the human race. A great night at the theatre, and worth every penny.

Coriolanus runs in the Olivier Theatre until November 9 2024.

Tickets: nationaltheatre.org.uk

Playwright: William Shakespeare

Director: Lyndsey Turner

Set designer: Es Devlin

Costume Designer: Annemarie Woods

Fight Director: Sam Lyon-Behan