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Post by erik24601 on Dec 7, 2023 11:18:05 GMT
Following my slight moan on another thread regarding the staging of productions at the Charing Cross Theatre which have been presented in the 'two-sided' auditorium, are there any productions that you can acknowledge as truly having successfully used the 'in the round' (or similar) layout in theatre?
I don't think I've ever seen a production that hasn't been directed from one 'main side' and then had the other sides clearly thought of afterwards. I'm fed up of spending the same amount of money on tickets for a seat on the 'other side', only to spend 2hrs looking at the backs of peoples head due to sloppy direction.
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Post by bee on Dec 7, 2023 13:05:41 GMT
I've been to quite a few shows at The Orange Tree which are always in the round (it's more of a square I suppose). I can't say I've ever felt I was spending too much time staring at the back of the actors' heads.
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Post by teamyali on Dec 7, 2023 13:19:39 GMT
@sohoplace is doing really well in this configuration. Their upcoming show, Red Pitch, is also in the round.
There’s also Circle in the Square in Broadway with the same staging, although a good number of their recent shows are re-arranged in a thrust stage. The upcoming Ibsen revival of An Enemy of the People, starring Jeremy Strong, is going to be in the round. I hope to catch on this show this spring.
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Post by viserys on Dec 7, 2023 13:34:51 GMT
Oklahoma at Circle in the Square was the only "in the round" experience that worked for me (but I was also half dead with jetlag that evening).
None of the London "in the round" stagings I've seen recently worked for me, whether Allegiance, Guys and Dolls or Little Big Things. It's inevitable that you see performers only from the back from time to time which is highly annoying when you miss important bits that way (like Sky standing with his back to me all the time during "I've never been in love before".
It also takes me out of the experience when I keep seeing the audience on the other side (or every side) and I can't lose myself in whatever world is presented on stage. So unless it's something or someone I'm absolutely dying to see or makes sense in the context of the show I won't book for anything "in the round" or traverse or similar gimmicky anymore.
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Post by erik24601 on Dec 7, 2023 14:27:10 GMT
It also takes me out of the experience when I keep seeing the audience on the other side (or every side) and I can't lose myself in whatever world is presented on stage. So unless it's something or someone I'm absolutely dying to see or makes sense in the context of the show I won't book for anything "in the round" or traverse or similar gimmicky anymore. This is also a very valid point. All too often I've been distracted looking at an audience member on the other side which was more interesting than the back of the actor's head I'd paid to see. |
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Post by Someone in a tree on Dec 7, 2023 15:07:16 GMT
@sohoplace Marvelous, As you like it & little Big things all worked really well.
Candide at the MCF was truly excellent. Im not sure why these stagings worked, fast faced shows, actors moved a lot and not to fancy staging?
For the negative I give you the current west end Cabaret.
Wasnt Happy Days at the royal exchange staged on a revolving hill?
I generally like it as a concept and lets not forget some directors and designers in traditonal theatres only play to the front of the theatre and in the central block!
A friend watched some ghastly wagner and whenever a singer turned then you couldnt hear them - sounds a blessing to me.
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Post by alece10 on Dec 7, 2023 15:26:19 GMT
The Menier has done a few "in the square" if that counts and seem to have worked well. Although a nightmare for FOH staff directing people to the right seats.
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Post by Dawnstar on Dec 7, 2023 18:35:01 GMT
I thought Amour at Charing Cross worked equally well from both sides, having seen it twice, once from either side. Of course sometimes there were backs of heads but it seemed pretty equal on both sides. The only time I've seen a four-sided show from more than one side was Ayckbourn's Awakening Beauty at the Stephen Joseph Theatre, which I saw twice in one day from opposite sides of the square & I thought that was pretty evenly directed. Of course that theatre should be expert in square stagings as I gather it's always in that configuration. It also takes me out of the experience when I keep seeing the audience on the other side (or every side) and I can't lose myself in whatever world is presented on stage. I find this more of a problem than any issues about a show being directed more to one side, including if one is sat at the side for a thrust staging at e.g. Chichester & The Other Palace. |
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Post by TallPaul on Dec 7, 2023 18:47:42 GMT
I'm sure, if they were TB members, the artistic directors of the Stephen Joseph in Scarborough and the New Victoria in Newcastle (under Lyme) would have something to add. The problem is not with the format, but with inexperienced or unimaginative directors.
In real life, we don't all stand in a straight line having a conversation.
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Post by BurlyBeaR on Dec 7, 2023 19:05:20 GMT
I think those venues where it’s business as usual to perform in the round (e.g Royal Exchange) or on a very large thrust (e.g Crucible, Leeds Playhouse) are probably more successful at staging their productions for those audiences. I’ve never been to any of those theatres and felt short changed by my viewing angle. But these so-called flexible spaces where they can switch the format round production by production must be much more difficult. I’m sure the creatives must think it’s all very exciting “Gideon’s decided to do it in the round darling, he thinks it can work” until they have to face the practicalities of it and then fail.
The Hope Mill used to be flexible but after a couple of years they stopped messing about with it and chose an end-on format which has prevailed ever since.
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Post by David J on Dec 7, 2023 19:30:08 GMT
The Old Vic's Christmas Carol is one of the best examples of in the round, or traverse if you were to argue the shape of the stage, in recent memory
These types of staging are best served when the action is all around you and you feel in the thick of the action.
I still remember my first introduction to the 'thrust stage' seeing Michael Boyd's Henry VI trilogy in the Courtyard Theatre in Stratford, and what a production it was! Using all levels of the auditorium and having actors come down from above.
But admittedly if there was a downside to Michael Boyd's time at the RSC it was his insistence of making the main theatre a thrust stage. When Adrian Noble was in charge there was plans to make the theatre what the Bridge Theatre is, a flexible space to do any type of staging. But Boyd shot that down and pushed through the thrust stage when only he and a few other directors knew how to use the staging to great effect.
And since then barely anyone under Gregory Doran or Erica Whyman know how to use that stage whilst thinking about a transfer to the Barbican.
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Post by toomasj on Dec 7, 2023 20:28:18 GMT
You’re looking at the man who invented “theatre in the square” - nobody had a good seat!
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Post by erik24601 on Dec 8, 2023 10:31:36 GMT
You’re looking at the man who invented “theatre in the square” - nobody had a good seat! 😂 |
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Post by threeletteracronym on Dec 8, 2023 10:38:42 GMT
Echoing BurlyBeaR, my main experience of theatre-in-the-round has been at the Royal Exchange in Manchester - I've sat in many different spots over the years and never felt short-changed. That could, partly, be expectation though, as I know what to expect. I'm sure it felt odd the first time but I cant remember that far back!
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Post by nick on Dec 8, 2023 11:09:57 GMT
The Royal Exchange seems to be the gold standard for in the round. My favourite performance ever was there - Ben Kingsley in Dr Faustus.
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Post by erik24601 on Dec 8, 2023 11:10:51 GMT
On the whole, my brain has always told me that it's bad direction that has caused my negative experiences with this concept, rather than the actual venue. As I mentioned, it almost feels like directors just sit on one side of the rehearsal room most of the time and then occasionally may sit on other sides during tech etc by which point of course it's a little too late to re-conceptionalise a full production's blocking.
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Post by BurlyBeaR on Dec 8, 2023 14:49:34 GMT
There are presumably special techniques needed by the performers too, including how not to be continually catching the eyes of audience members. Do they teach this stuff at drama school?
I have to confess I’m always fascinated by the people sitting on the “bonkettes” at the REX.
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Post by christya on Dec 8, 2023 14:55:03 GMT
I don't think I've ever seen a production in the round where I didn't feel a bit ripped off. With the best will in the world, you're going to have backs turned to you at some point, and it feels like there just isn't a good seat. There might be some which are in the best possible place, but still you see performers' backs. I haven't been back to the Charing Cross Theatre in ages because I just don't like how they're staging things now.
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Post by n1david on Dec 8, 2023 16:03:23 GMT
There are presumably special techniques needed by the performers too, including how not to be continually catching the eyes of audience members. I imagine most of them learn that particular skill when they are waiting tables in between jobs. |
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Post by BurlyBeaR on Dec 8, 2023 16:33:47 GMT
Oof!
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Post by richey on Dec 9, 2023 11:20:22 GMT
There are presumably special techniques needed by the performers too, including how not to be continually catching the eyes of audience members. Do they teach this stuff at drama school? I have to confess I’m always fascinated by the people sitting on the “bonkettes” at the REX. There were some very awkward looks from some of the people sat on them at Brief Encounter the other night as one of the cast gets very close to them at one point. |
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Post by anthony40 on Dec 9, 2023 19:11:15 GMT
Max Bialystock- You're looking at the man who invented Theatre in the Square! Nobody had a good seat!
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Post by BurlyBeaR on Dec 10, 2023 20:33:23 GMT
Max Bialystock- You're looking at the man who invented Theatre in the Square! Nobody had a good seat! Ironically the REX production of The Producers was fabulous. |
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Post by jaybird89 on Dec 11, 2023 0:03:43 GMT
As others have said Candide at the chocolate factory really worked for me i don't know if the small intimate space helped im seeing cabaret on the 18th and im interested to see how it plays if i had endless funds id like to see it from both sides of the auditorium and really see if there is a big difference depending on which side you are on.
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Post by Jan on Dec 11, 2023 7:17:59 GMT
In real life, we don't all stand in a straight line having a conversation. Neither do we all walk continuously round in a clockwise circle when we're talking like RSC actors do on thrust stages. The current Orange Tree "She Stoops to Conquer" works very well in the round (from where I was sitting anyway). |
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Post by properjob on Dec 19, 2023 18:31:07 GMT
I much prefer end on. I like to be able to see the actors faces and I don't like to see the audience. There is a reason nearly all theatres are like that.
I have a particular hatred of traverse as I think it is the worst of all worlds. (I count the Old Vic Christmas Carol as in the round). The only traverse show which I found the seating acceptable was the railway children at Waterloo Station as it had an actual train up the middle.
I think my main hatred of non end on formats is caused by people building theatres like that (e.g. private schools) who don't have the skills and budgets to make it work.
The (world famous) crucible can only pull off productions on its thrust stage as they have a sophisticated flying system, a stage floor that allows lifts to be put anywhere and experienced directors and stage management teams. Even then, when I have queued for a return and got a house seat they are very central as they know where to put VIPs and it isn't at the sides.
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Post by threeletteracronym on Dec 21, 2023 15:56:26 GMT
Thinking about it, my mum (very hard of hearing, despite hearing aids) struggles when actors dont face the audience. She doesnt lip-read 'properly' but does need people to face her when they are speaking.
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