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Post by David J on Aug 12, 2016 22:53:32 GMT
I'm happy to see Julius Caesar and Antony and Cleopatra.
I don't mind the violence of Titus Andronicus. The Stephen Baxter and Katy Stephens production was my first, which was fine. I caught up with the Lucy Bailey production on DVD and it is undoubtedly well done.
I just find the play depressingly morbid. It's nothing but a downward spiral into betrayal, revenge, murder, rape. Just one gleam of happiness or hope would be nice even if it is quickly dashed.
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Post by Deleted on Aug 12, 2016 23:30:26 GMT
Ain't the Nat doin AnC next year? No, early the following year (2018) with Simon Godwin directing Ralph Fiennes, according to NT on 3 Feb 2016. |
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Post by Deleted on Aug 12, 2016 23:38:07 GMT
JULIUS CAESAR TITUS ANDRONICUS ANTONY AND CLEOPATRA Angus Jackson to direct one. Any thoughts for the roles of Caesar, Cleopatra, Antony, Brutus, Cassius? Caesar - Richard Wilson Cleopatra - Angela Lansbury Antony - Noma Dumezweni Brutus - Will Young Cassius - Ed Balls |
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RSC 2017
Aug 13, 2016 5:15:55 GMT
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Post by martin1965 on Aug 13, 2016 5:15:55 GMT
Oooh v excited by this if true! I love Titus, an underrated play imo. Alex Gilbreath would be good Cleo. Sounds like there will be one ensemble for all three. RSC did the Romans before in 1972, before my time since you ask!
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Post by crabtree on Aug 13, 2016 8:18:39 GMT
I wonder why they've left out Coriolanus - maybe in the Swan. Oh how I remember the previous Romans.......Janet Suzman sensational as both Cleopatra and Lavinia. And a monumental set.
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Post by schuttep on Aug 13, 2016 8:25:15 GMT
As I'm only slightly younger than Chronos himself, my first RSC was the 1977 all-singing all-dancing Comedy of Errors with Judi Dench, Michael Williams, Roger Rees et al.
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Post by schuttep on Aug 13, 2016 8:26:57 GMT
Shouldn't this be with the RSC 2017 thread?
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1,119 posts
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RSC 2017
Aug 13, 2016 8:38:06 GMT
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Post by martin1965 on Aug 13, 2016 8:38:06 GMT
Yep, please merge guys. There are only three slots in the mainhouse, cant wait for swan season.
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Post by mistressjojo on Aug 13, 2016 9:14:32 GMT
And I'm not excited at the prospect Dorans Richard III. Here's hoping the casting is good Isn't it obvious David Tennant will do it ? Not really. It's not a role DT has ever mentioned as being on his list ( yes, he has a list) Not saying he couldn't be tempted however - it's still Shakespeare. |
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Post by lynette on Aug 13, 2016 12:36:39 GMT
As I'm only slightly younger than Chronos himself, my first RSC was the 1977 all-singing all-dancing Comedy of Errors with Judi Dench, Michael Williams, Roger Rees et al. Not my first but probably the most memorable. |
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RSC 2017
Aug 13, 2016 14:52:13 GMT
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Post by Jan on Aug 13, 2016 14:52:13 GMT
I wonder why they've left out Coriolanus - maybe in the Swan. Oh how I remember the previous Romans.......Janet Suzman sensational as both Cleopatra and Lavinia. And a monumental set. It is hard to cast and doesn't get done that often. Doran is committed to doing all the Shakespeare plays in the main house so it won't be in the Swan. |
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Post by nash16 on Aug 13, 2016 22:51:25 GMT
Yep, please merge guys. There are only three slots in the mainhouse, cant wait for swan season. We are merged. Mmmmmm. |
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Post by oxfordsimon on Aug 14, 2016 2:43:32 GMT
Well it is clear that they are not even trying to maintain their original timeline for the complete works on the RST stage.
(Arguably they made it clear that it won't be a full set when they put TNK into the Swan - and yes, I know it is a collaboration - but it is far from the only one in the complete works that is not solely by Will)
I can't get excited by anything under the Doran regime. He was a bad appointment.
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RSC 2017
Aug 14, 2016 5:19:12 GMT
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Post by Jan on Aug 14, 2016 5:19:12 GMT
Well it is clear that they are not even trying to maintain their original timeline for the complete works on the RST stage. (Arguably they made it clear that it won't be a full set when they put TNK into the Swan - and yes, I know it is a collaboration - but it is far from the only one in the complete works that is not solely by Will) I can't get excited by anything under the Doran regime. He was a bad appointment. Agree. I doubt he'll leave after 10 years as promised either as he seems to be doing no succession planning either. For example, the productions of Loves Labours/Much Ado were massive sold out hits at RST in 2014 but the director Christopher Luscome hasn't directed a thing for the RSC since then and is only getting a London transfer thanks to Chichester. Doran seems to treat directors just as freelancers to be brought in now and again and they have to work elsewhere in the meantime, Simon Godwin is another. It runs counter to the company ethos. |
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RSC 2017
Aug 14, 2016 7:37:15 GMT
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Post by martin1965 on Aug 14, 2016 7:37:15 GMT
Agree partly, his mistake when announcing the complete works project wad to say he would do it in six years which was clearly not going to work if the plays were only in the mainhouse. I think he will go after ten years, 2023 will be perfect as its the first folio anniversary. There is therefore plenty of time for him to put someone in place to take over. It is odd he hasnt put together an associate team of directors. All that said i do like him, he loves Shakespeare and has reinstated the Swan to its original purpose of examining Shakey's contempories.
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Post by Deleted on Aug 14, 2016 8:32:29 GMT
Agree. I doubt he'll leave after 10 years as promised either as he seems to be doing no succession planning either. For example, the productions of Loves Labours/Much Ado were massive sold out hits at RST in 2014 but the director Christopher Luscome hasn't directed a thing for the RSC since then and is only getting a London transfer thanks to Chichester. Doran seems to treat directors just as freelancers to be brought in now and again and they have to work elsewhere in the meantime, Simon Godwin is another. It runs counter to the company ethos. On the other hand, the RSC is now more open to directors because the only fixtures are Gregory Doran and Erica Whyman. I think that the company ethos is still there, despite the many itinerant directors, by virtue of the lengthy planning process for each production and the physical presence of all the production departments in Stratford, and the permanent rehearsal facilities in Clapham and the bespoke rehearsal studios in The Other Place. |
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RSC 2017
Aug 14, 2016 11:16:03 GMT
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Post by Jan on Aug 14, 2016 11:16:03 GMT
Agree. I doubt he'll leave after 10 years as promised either as he seems to be doing no succession planning either. For example, the productions of Loves Labours/Much Ado were massive sold out hits at RST in 2014 but the director Christopher Luscome hasn't directed a thing for the RSC since then and is only getting a London transfer thanks to Chichester. Doran seems to treat directors just as freelancers to be brought in now and again and they have to work elsewhere in the meantime, Simon Godwin is another. It runs counter to the company ethos. On the other hand, the RSC is now more open to directors because the only fixtures are Gregory Doran and Erica Whyman. I think that the company ethos is still there, despite the many itinerant directors, by virtue of the lengthy planning process for each production and the physical presence of all the production departments in Stratford, and the permanent rehearsal facilities in Clapham and the bespoke rehearsal studios in The Other Place. Anthony Sher is also a fixture. I think it is far more centralised than previously, amongst the directors there is Doran and everyone else. In fact Doran also claimed credit for the concept of Much Ado and Loves Labours so the other directors seem even more like hired hands rather than company members. Incidentally Doran has already directed all the Roman plays so it will be interesting to see who directs those next year. |
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Post by cirque on Aug 14, 2016 13:51:21 GMT
No pleasure at all taken at this....
RSC now believes it is a radical force and at the forefront of challenging drama.It constantly tells everyone how great it is.
the company had become obsessed with PC policies and the agenda of feminism to the exclusion of the greater political landscape.they believe that a black ensemble being given a standing ovation by a white audience is a major step forward.....please,where have you been.
RSC education will claim that it is creating a love culture for young people with Shakespeare and removing the barriers of language and race.Not at all convinced despite the onslaught of photos and claims by the company.
Seriously convinced that RSC do not like or value their Stratford audiences ......despising the white middle class dominance.They dismiss the fact that many of these audience members helped RSC grow through decades of groundbreaking work.
They want everyone to believe that new Other Place is den of subversion and really don't recall the political activism of the previous incarnation when both new work and radical rethinking of classics sat side by side surrounded by debate and often searing anger.
RSC productions vary,of course,and so they should but very rarely do they provide the riveting response to Shakespeare for audiences across the globe.Yes...production values good but often rather dull and messy work that the party line will try to convince is a radical rethink.The Cymbeline this season is a mess that illuminates nothing and the Brexit debate quite irrelevant.
RSC obsession with being PC is reducing its ability to create work on a level with many of the leaders in international theatre.Directors are brought in who fit the agenda but really not the most exciting directors of Shakespeare or contemporary.
Greg Doran loves Shakespeare and devotes his time to him...that's fine and his work is never less than interesting but not convinced he has a large visionary overview of where RSC may be positioned.Erica Whyman had very clear agenda to her credit but if you are one of RSC older audience members travelling down to Stratford you feel it's not really you they want but...unfortunately,can't really get the demographic they desire because it has other things to do.
RSC seem to convey regrets that their house dramatist is male and from Stratford when this collection of dissatisfied minds wish for the London audience and the mix achieved at Almeida,Young Vic etc.....
RSC has potential to be radical and groundbreaking in a genuine way so why do I feel that the current operation is dull,PC and believing in a self made mythology.
as I said....gives me no great joy to say all this and tell me I am wrong.
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Post by Jan on Aug 14, 2016 14:23:42 GMT
No pleasure at all taken at this.... RSC now believes it is a radical force and at the forefront of challenging drama.It constantly tells everyone how great it is. the company had become obsessed with PC policies and the agenda of feminism to the exclusion of the greater political landscape.they believe that a black ensemble being given a standing ovation by a white audience is a major step forward.....please,where have you been. RSC education will claim that it is creating a love culture for young people with Shakespeare and removing the barriers of language and race.Not at all convinced despite the onslaught of photos and claims by the company. Seriously convinced that RSC do not like or value their Stratford audiences ......despising the white middle class dominance.They dismiss the fact that many of these audience members helped RSC grow through decades of groundbreaking work. They want everyone to believe that new Other Place is den of subversion and really don't recall the political activism of the previous incarnation when both new work and radical rethinking of classics sat side by side surrounded by debate and often searing anger. RSC productions vary,of course,and so they should but very rarely do they provide the riveting response to Shakespeare for audiences across the globe.Yes...production values good but often rather dull and messy work that the party line will try to convince is a radical rethink.The Cymbeline this season is a mess that illuminates nothing and the Brexit debate quite irrelevant. RSC obsession with being PC is reducing its ability to create work on a level with many of the leaders in international theatre.Directors are brought in who fit the agenda but really not the most exciting directors of Shakespeare or contemporary. Greg Doran loves Shakespeare and devotes his time to him...that's fine and his work is never less than interesting but not convinced he has a large visionary overview of where RSC may be positioned.Erica Whyman had very clear agenda to her credit but if you are one of RSC older audience members travelling down to Stratford you feel it's not really you they want but...unfortunately,can't really get the demographic they desire because it has other things to do. RSC seem to convey regrets that their house dramatist is male and from Stratford when this collection of dissatisfied minds wish for the London audience and the mix achieved at Almeida,Young Vic etc..... RSC has potential to be radical and groundbreaking in a genuine way so why do I feel that the current operation is dull,PC and believing in a self made mythology. as I said....gives me no great joy to say all this and tell me I am wrong. You could make many of the same points about the NT - middle-aged middle-class white directorate who are uncomfortable with their audience being similar. They try too hard - Young Vic is better, they achieve diversity by putting on diverse productions. |
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Post by cirque on Aug 14, 2016 14:28:34 GMT
True Jan,yet maybe don't get the self righteousness so much from them.
agree Young Vic but of course very different mandate.
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Post by DuchessConstance on Aug 14, 2016 14:30:56 GMT
What a load of nonsense. Typical Daily Mail reader crying because they're so oppressed at having to occasionally acknowledge that black people or women exist.
A production stands or falls on its own merit. An actor's performance rests on their talent, not their genitals or their skin colour. If "white middle class people" are unable to watch any theatre not exclusively white and middle class then they have much bigger problems and obviously don't have any genuine appreciation for or understanding of Shakespeare.
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Post by martin1965 on Aug 14, 2016 15:17:15 GMT
Have to say i agree with constance. Both RSC and NT core audiences are abd have been white middle/upper working class, you can argue why and if its right but its a fact. Ive not seen any obvious sign of rsc saying it is now radical or rabidly pc. Its afree country dont go to stratford if you dont like it! I love shakespeare and the jacobethan playwrights and hapoen to think the best place to see them is the rsc esp now the globe has gone gaga.
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Post by Deleted on Aug 14, 2016 16:29:20 GMT
You could make many of the same points about the NT - middle-aged middle-class white directorate It's stretching your generosity to term Greg Doran as middle-aged. |
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RSC 2017
Aug 14, 2016 16:59:36 GMT
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Post by David J on Aug 14, 2016 16:59:36 GMT
I felt that the RSC has been playing it safe production wise since Gregory Doran took over
Not that they aren't great but things felt more invigorating and interesting under Michael Boyd, when directors like he, David Farr and Rupert Goold were putting more than three/four productions in the main or temporary theatre
The Merchant of Las Vegas, The Histories, a submerged Twelfh Night, the bookcases toppling over in Winters Tale. Only the Swan productions feel daring these days, with the exception of Polly Findlay's Merchant of Venice (which was okay)
Even Gregory Doran has been more adventurous than he is nowadays
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Post by oxfordsimon on Aug 15, 2016 0:43:53 GMT
Doran seems intent on creating safe productions that can go onto DVD and be sold to the schools market.
This is not a bad thing - as you need to build your audiences for the future.
But there is no real innovation going on. Everything feels pedestrian and predictable. Even when they attempt to think outside the box, it still feels predictable.
Doran was the wrong choice. He really was. The RSC needed a director with vision and a solid background in Shakespeare (and contemporaries) - but Doran has not delivered a truly remarkable production in years. I cannot think of a single one of his shows that has lingered in the mind.
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