2,706 posts
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Post by Cardinal Pirelli on Jan 30, 2017 17:51:13 GMT
When I read it I presumed that it was a not very subtle attack on Robert Icke, the director of The Red Barn and one highly influenced by contemporary European practice (Oresteia, Vanya, 1984 etc,). Possibly so. My assumption was he wrote the book before that production and so had made himself look foolish. Possibly he is pissed-off the staging is so complicated he can't transfer it to Broadway. His criticism of high-concept Shakespeare is misguided if the alternative is his own catastrophically inept production of King Lear at NT where actors in generic old-style clothes marched across an empty stage, said their lines at each other, and marched off again. It misses the point entirely to question what the Merchant of Venice characters are doing in Vegas - it's a metaphor and provides useful cultural markers, Sir David, we're not bothered "why" they're there. Lyn Gardner replies - www.theguardian.com/stage/theatreblog/2017/jan/30/david-hare-state-of-british-theatre-europeChoice quote, having listed a number of plays that address national concerns "They may be presented on smaller canvases than Hare is used to – he has long had access to big stages – but these plays get to the very core of the nation’s soul and psyche, and they do it without big third-act speeches telling you what to think." Ouch.....
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Post by Deleted on Jan 31, 2017 8:47:03 GMT
Ooh well done Lyn!
"Hare is defending his patch as a playwright"
Yup and we all know when grumpy old men don't get their way they stamp their feet and blame everyone else!
I also like
"All theatre cultures have plenty they can learn from each other. It’s when you stop learning and become insular that theatre culture becomes desiccated and begins repeating itself."
Well put!
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Post by Jan on Jan 31, 2017 9:09:28 GMT
I agree with Billingtgon's criticisms (link above) but I'm not too concerned because it means I just switch from going to NT in favour of theatres with more talented ADs who programme a wider and more interesting range of stuff (Young Vic, Almeida). The real significance of the piece is it is the first time anyone from inside the theatrical establishment has directly criticised Norris. I expect now Billington will not let go - he didn't after he started criticising Nunn for programming too many musicals. Norris' choice of Macbeth to display his classical theatre credentials is brave, lots of directors have failed with that one (Richard Eyre, John Caird, Howard Davies).
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Post by Honoured Guest on Jan 31, 2017 10:33:03 GMT
It would be interesting to read Michael Billington's response to the response of the NT spokesperson to his polemic. They remind poor deprived Mikey that the NT staged nine classic plays last year.
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Post by Jan on Jan 31, 2017 11:20:19 GMT
It would be interesting to read Michael Billington's response to the response of the NT spokesperson to his polemic. They remind poor deprived Mikey that the NT staged nine classic plays last year. That won't bother him, once he's got an idea in his head he won't let go of it, like Nunn and the musicals where there were quite valid reasons put forward both artistic (delayed new plays) and financial for Nunn's policy.
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1,119 posts
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Post by martin1965 on Jan 31, 2017 11:43:43 GMT
Where can one see the NT response? There is a nonsensical response on whatsonstage by the reliably batty matt trueman!
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Post by Honoured Guest on Jan 31, 2017 12:25:45 GMT
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4,038 posts
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Post by kathryn on Jan 31, 2017 12:52:12 GMT
Grumpy old men, speak of them and they appear
(I have a lot of respect of Billington's opinions but he does come across as having a grumpy moan about not getting enough nice plays he likes there)
Norris can't possibly please everyone. He can't support new writing, hit his gender-parity/diversity targets, and put on enough classic plays to keep Billington happy. Not all in the same season, anyway. Some years there will inevitably be more new writing (and diverse writers) than revivals, some years there will be more classics.
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2,347 posts
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Post by zahidf on Jan 31, 2017 13:28:00 GMT
I normally like Billington, but that article is absolute rubbish. If the quality of the new stuff is in question, then ok, but the fact is he seems annoyed at the idea of new stuff. And as the national said, they have done quite a bit of 'Classic' plays.
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Post by Deleted on Jan 31, 2017 13:35:27 GMT
If it's a triangle of Greater Diversity vs New Writing vs Classic Revivals and we have to pick two, then I am absolutely ALL FOR enraging Billington by dialling down on Classic Revivals. Yes, other theatres do new plays extremely well, but the Royal Court isn't going to give us a War Horse, the Bush is unlikely to get us a Curious Incident. And, as has been pointed out, it's extremely moot as it's a complete denial of fact (even Billington's living in a post-truth world) to claim the NT isn't giving us any Classic Revivals. How many more Deep Blue Seas or Seagulls (or other nautically-named plays) do we even need anyway?
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Post by Deleted on Jan 31, 2017 13:54:42 GMT
Grumpy old men, speak of them and they appear
(I have a lot of respect of Billington's opinions but he does come across as having a grumpy moan about not getting enough nice plays he likes there)
Norris can't possibly please everyone. He can't support new writing, hit his gender-parity/diversity targets, and put on enough classic plays to keep Billington happy. Not all in the same season, anyway. Some years there will inevitably be more new writing (and diverse writers) than revivals, some years there will be more classics. Well exactly- personally I like what Norriss is doing, not that I physically get to see much of it, but I think he's striking a good balance in his programming. And like you say it shifts year on year.
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Post by Honoured Guest on Jan 31, 2017 14:01:13 GMT
There's a very upbeat interview with Rufus Norris on the Telegraph website today. (You have to register to read it but you're allowed one free "premium" article per week)! He says the NT has a problem with audiences - How to keep the demand down because too many people want to attend the shows!
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1,064 posts
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Post by bellboard27 on Jan 31, 2017 14:20:37 GMT
How many more Deep Blue Seas or Seagulls (or other nautically-named plays) do we even need anyway? Well, that's The Last Ship on its way then.
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Post by Jan on Jan 31, 2017 16:39:09 GMT
If it's a triangle of Greater Diversity vs New Writing vs Classic Revivals and we have to pick two, then I am absolutely ALL FOR enraging Billington by dialling down on Classic Revivals. Yes, other theatres do new plays extremely well, but the Royal Court isn't going to give us a War Horse, the Bush is unlikely to get us a Curious Incident. And, as has been pointed out, it's extremely moot as it's a complete denial of fact (even Billington's living in a post-truth world) to claim the NT isn't giving us any Classic Revivals. How many more Deep Blue Seas or Seagulls (or other nautically-named plays) do we even need anyway? Billington's point is the NT have enough resources to balance all three. In the subsidised sector in London there are several theatres that only do new plays, there are none at all that only do classic revivals, it is an under-represented sector and in the interests of diversity it is the job of the NT to remedy that. One thing he could do is put some classical revivals back in the Dorfmann, that would allow him to schedule a few of more limited popular appeal, as it is his revivals in the bigger spaces are of necessity very bland - Twelfth Night, Macbeth, Seagull etc.
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Post by Jan on Jan 31, 2017 16:42:01 GMT
There's a very upbeat interview with Rufus Norris on the Telegraph website today. (You have to register to read it but you're allowed one free "premium" article per week)! He says the NT has a problem with audiences - How to keep the demand down because too many people want to attend the shows! Extortionate pricing seems to be his favoured strategy to remedy the problem
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Post by Honoured Guest on Jan 31, 2017 16:47:47 GMT
Billington's point is the NT have enough resources to balance all three. In the subsidised sector in London there are several theatres that only do new plays, there are none at all that only do classic revivals, it is an under-represented sector and in the interests of diversity it is the job of the NT to remedy that. I think he was spooked by the 2017 line-up and fears it signals a permanent policy change. It's a peculiar feature of the NT that every show is presented and promoted in isolation. It's just about the only theatre which doesn't have "seasons". So everyone is left scratching around to concoct rationalisations for what they are staging.
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Post by Jan on Jan 31, 2017 18:01:59 GMT
Billington's point is the NT have enough resources to balance all three. In the subsidised sector in London there are several theatres that only do new plays, there are none at all that only do classic revivals, it is an under-represented sector and in the interests of diversity it is the job of the NT to remedy that. I think he was spooked by the 2017 line-up and fears it signals a permanent policy change. It's a peculiar feature of the NT that every show is presented and promoted in isolation. It's just about the only theatre which doesn't have "seasons". So everyone is left scratching around to concoct rationalisations for what they are staging. Even his American stuff hasn't been themed as a season. He should look at how Rupert Goold ran his Greeks season at Almeida with all sorts of high-profile supporting events that generated lots of positive media coverage.
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Post by Honoured Guest on Jan 31, 2017 18:15:20 GMT
Yes, the super-abundance of American stuff is a good example. It isn't a planned season but it's so obvious and anomalous that everyone wonders why it's happening, and everyone comes up with a personal rationalisation or range of possibilities. My guess is that it's coincidental, with each production having been planned in isolation, but that no one at the NT considered how it would be perceived.
The NT says that it aims to produce a range of shows so that at any time the varied offer on show will appeal in different ways to different audiences. So they actively seek to avoid seasons! I think they are so infatuated and steeped in American culture that they simply didn't notice that everything in the Lyttelton for the whole of 2017 was American or based on American sources.
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1,119 posts
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Post by martin1965 on Jan 31, 2017 19:20:05 GMT
If thats true then what the f*ck are the marketing dept doing?! Heads need to roll
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Post by Jan on Feb 1, 2017 10:18:11 GMT
I think they are so infatuated and steeped in American culture that they simply didn't notice that everything in the Lyttelton for the whole of 2017 was American or based on American sources. It is very odd. On the one hand we can assume the NT directorate loath Trump and the extreme capitalism he advocates, and they are strongly in favour of public funding for the arts in UK and resist attempts to replace that with commercial money, but on the other hand they are so in thrall to USA culture they are keen to get into bed (you could say negotiate trade deals) with both Broadway and Disney, two of the most capitalist enterprises going, whereas the EU is dramatically under-represented in both their programming and alliances.
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Post by zahidf on Feb 1, 2017 10:36:40 GMT
I think they are so infatuated and steeped in American culture that they simply didn't notice that everything in the Lyttelton for the whole of 2017 was American or based on American sources. It is very odd. On the one hand we can assume the NT directorate loath Trump and the extreme capitalism he advocates, and they are strongly in favour of public funding for the arts in UK and resist attempts to replace that with commercial money, but on the other hand they are so in thrall to USA culture they are keen to get into bed (you could say negotiate trade deals) with both Broadway and Disney, two of the most capitalist enterprises going, whereas the EU is dramatically under-represented in both their programming and alliances. I think its fair to say that both Disney and Broadway loathe trump as well. And i think its more they had some great oppurtunities with american stuff this year (Bryan Cranston, Angels with a great cast and a new Disney musical) that they took it. I doubt its a sea change in policy, just taking an opportunity.
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Post by Jan on Feb 1, 2017 10:50:36 GMT
It is very odd. On the one hand we can assume the NT directorate loath Trump and the extreme capitalism he advocates, and they are strongly in favour of public funding for the arts in UK and resist attempts to replace that with commercial money, but on the other hand they are so in thrall to USA culture they are keen to get into bed (you could say negotiate trade deals) with both Broadway and Disney, two of the most capitalist enterprises going, whereas the EU is dramatically under-represented in both their programming and alliances. I think its fair to say that both Disney and Broadway loathe trump as well. And i think its more they had some great oppurtunities with american stuff this year (Bryan Cranston, Angels with a great cast and a new Disney musical) that they took it. I doubt its a sea change in policy, just taking an opportunity. By Broadway & Disney I meant the money men, not the talent. I bet Billington has a real go at Pinnochio, this was the man who roundly condemned the RSC for daring to stage a book adaptation (Nicholas Nickleby).
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5,585 posts
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Post by lynette on Feb 2, 2017 16:22:07 GMT
I think a production of The Crucible might be called for.
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1,866 posts
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Post by Marwood on Feb 24, 2017 10:00:32 GMT
I had forgotten that the general public booking opened this morning, but have managed to get third row stalls for a Saturday night performance of Salomé - I'm just hoping it's better than the film of the Pacino/Chastain version, but at £15 I won't be too distraught. I had been thinking of booking for Common as well, but not really that excited about it to want to pay more than £15 and all the decent seats at that price had already been taken.
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Post by Deleted on Feb 24, 2017 10:50:03 GMT
Have to say, it's nowt to do with the play but I just love the artwork for 'Common'. The Duffster looks terrific!
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Post by Deleted on Feb 24, 2017 10:56:15 GMT
I don't know exactly why but there's something about the whole production that makes me think "if you liked Oil then you'll LOVE this...!". Something about a drearily-lit Anne Marie in a period costume I guess? I do hope I'm very wrong, Oil was basically fine but nothing more really.
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Post by Honoured Guest on Feb 24, 2017 11:05:50 GMT
I thought you lot would be squealing with joy to see Cush Jumbo and Lois Chimimba with Anne-Marie Duff in Common.
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Post by Latecomer on Feb 24, 2017 11:52:22 GMT
Don't think people have realised that the seats are for sale for Amadeus next year today....lots of bargain £15 seats still to be had at the front! And National will always take back tickets for credit (£2 fee each ticket) if it seems too far in advance to book!
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Post by frosty on Feb 24, 2017 15:13:02 GMT
Don't think people have realised that the seats are for sale for Amadeus next year today....lots of bargain £15 seats still to be had at the front! And National will always take back tickets for credit (£2 fee each ticket) if it seems too far in advance to book! Thanks for the tip, just booked me some great £18 seats at the front for a Saturday night in February
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Post by Deleted on Feb 24, 2017 21:46:44 GMT
Haven't read so I feel it has already been mentioned sorry but saw this ntlive.nationaltheatre.org.uk/productions/ntlout23-obsessionThey are broadcasting Jude law in obsession at the Barbican. Haven't really hear drake much of this play yet but it could be good as it is directed by ivo van hove. Doesn't seem to have had much discussion and there also seems to be a lot of tickets to see it live.
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