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Everyman – Olivier Theatre @ National Theatre, until August 30 2015 (tickets)

As a statement of intent of what Norris intends to bring to the National Theatre during his tenure as Artistic Director, Everyman – his first directing role since taking over- could hardly have been more purposeful.

The bravura opening sequence that stretches from the studied simplicity of Kate Duchêne’s God to Chiwetel Ejiofor’s spectacular initial entrance marries energetic vitality to a clear eye for using the Olivier’s vast space to compose striking images. It is a breathless and hugely ambitious piece of staging that successfully draws the audience into the action from the off.

It feels like a mark of how the National Theatre stagnated towards the end of Nicolas Hytner’s tenure that one has to go back to Danny Boyle’s Frankenstein in 2011 (or, tellingly, Norris’ own direction of London Road in 2012) to find another play that so successfully combined powerful story-telling with making full use of the Olivier’s unique performance area to create a truly theatrical experience.

London Road – now a film – may well have done more than anything else to secure Norris the most coveted role in British theatre. The critically acclaimed production created a beautiful harmonisation between a visually spectacular design and a highly original approach to verbatim story-telling. The play took universal themes and pulled them inside out, seeking to give voice to those ignored by traditional genre plotting but who still have to live their lives at the epicentre of tragedy. Between Alecky Blythe’s dramatisation and Norris’ direction, the voices of regular people from a small corner of Britain were given as much weight as importance as Peter Morgan gave to the Queen in The Audience. London Road was not just a play but a thoughtful articulation on what a national theatre’s mandate could be.

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Product – Inside Intelligence @ Arcola Theatre, until 23 May 2015 (tickets)

One could criticise Product for setting its sights too low. Hollywood – in all its gaudy, crass self-centeredness – is just too easy a target for a playwright as good as Mark Ravenhill; a writer whose dialogue is best delivered with a rapier’s thrust rather than a cudgel’s blow. But then, Hollywood being Hollywood, a complete shitball of a film like The Interview gets made (a film whose pointlessness is only equalled by its charmless offensiveness). Next thing a chain of events is set in motion that ends with news broadcasts dominated by the threat of North Korea going to war.

Whether we like it or not Hollywood matters. Cultural imperialism is one of the strongest weapons in America’s arsenal. Democracy may be won on the battleground but those beloved ‘western values’ are secured elsewhere. It is in the malls, the bootleg CDs and – for many – in the cinemas, where citizens are shown worlds of freedom, choice and (of course) sweet, sweet capitalism. Increasingly as the wheel continues to turn towards the East and the world welcomes China to the consumers club, we have seen the money men of Hollywood willingly kowtow to the emerging markets as American cinema spending flatlines. As a result major blockbusters, think Mission Impossible or James Bond, have whole sequences set in Macau and Shanghai shoehorned into the action.

These strands of Hollywood venality and its relationship with the rest of the world were not the issues concerning Ravenhill when he wrote Product back in 2005. Then the focus was on the media’s response to terrorist events (9/11 is the shadow that looms large in the background) and the need for easily explainable narratives to sell to the public. The problem when trying to view the play in this light is that – and it may be a question of 10 years remove – these wider themes are never really brought into the light. It seems more obviously an often witty, always filthy, satire on the self-obsession of those working in the film industry. The play wonderfully breaks down a universal tragedy and places it entirely within the context of the individual – what does it mean to the character? What does it mean to the actress playing the character and to the person pitching them the role?

The play is strengthened immeasurably by the assured performance by Olivia Poulet. Always the character with not quite enough screen time on The Thick of It, Poulet is given room and time to develop the role. The script is so funny, and Poulet such an engaging and lively performer, that at times it has the air of a character comic rather than theatre piece. This is enhanced due to the fact that the audience effectively takes on the role of the actress being pitched to, and so Poulet talks straight to us. She is very good at flicking between the world of the film, and the abstracted commentator on the script she is describing, and by the end of the play she has conjured an entire film that the audience can believe it has really seen.

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