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Post by Deleted on Apr 20, 2017 10:35:36 GMT
That is over a relatively short period of time though. What about in the 2 years before 12th Night?
We had Amadeus, waste, threepenny opera, Chekov trilogy, Hedda...
Its slanted more towards new work in the next season, but to say 'dereliction of duty' is somewhat of an exaggeration in my view... At the time, Rufus Norris had announced the forthcoming year of NT work which features a dearth of reimagined classics. There was no indication of future programming beyond that year, so the implication was that this could be a radical change in NT policy that would be the new norm. Because of Michael Billington's public comments, Rufus Norris quickly promised that the next year will feature a significant number of European classics. But at the time of writing the original article, immediately after the NT press conference, the NT had given the impression that it had made a radical permanent policy shift away from reimagined classics. And they have very recently removed their core commitment to reimagined classics from their website. Now they just say: "At the National, we make world-class theatre that is entertaining, challenging and inspiring. And we make it for everyone." So, Michael Billington was quite correct to say that they have abandoned this duty which has been at their core throughout their existence, and was one of the reasons for founding the NT in the first place. Please note that I have made no value judgements or comments in any of my posts on this subject - Just Facts! |
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Post by Deleted on Apr 20, 2017 10:39:40 GMT
I mean, I'd accept "a dereliction of duty", as these things to do seem to ebb and flow and we're currently in an ebbing of classics rather than a full flow, but the word "staggering" just set my hackles up for whatever reason. It is possible to take a thing too far, after all.  |
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Post by Deleted on Apr 20, 2017 10:46:06 GMT
I mean, I'd accept "a dereliction of duty", as these things to do seem to ebb and flow and we're currently in an ebbing of classics rather than a full flow, but the word "staggering" just set my hackles up for whatever reason. It is possible to take a thing too far, after all. The reason it is staggering is that one of the main reasons for founding the NT was to keep the classical repertoire alive in modern performance, and this has remained a core aspect of the NT's work throughout its existence. But, without any public debate or explanation, it has virtually gone from the forthcoming year's programme of over twenty productions. And, also without any public debate or explanation, it has been removed from the NT's mission statement. Staggering! Please note that I have made no value judgements or comments - Just Facts! |
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Post by zahidf on Apr 20, 2017 13:35:51 GMT
I mean, I'd accept "a dereliction of duty", as these things to do seem to ebb and flow and we're currently in an ebbing of classics rather than a full flow, but the word "staggering" just set my hackles up for whatever reason. It is possible to take a thing too far, after all. The reason it is staggering is that one of the main reasons for founding the NT was to keep the classical repertoire alive in modern performance, and this has remained a core aspect of the NT's work throughout its existence. But, without any public debate or explanation, it has virtually gone from the forthcoming year's programme of over twenty productions. And, also without any public debate or explanation, it has been removed from the NT's mission statement. Staggering! Please note that I have made no value judgements or comments - Just Facts! that is fair enough: they do often do Q and A's and what not, if I am ever at one with Rufus, i'll bring it up! |
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Post by theglenbucklaird on Apr 20, 2017 20:06:58 GMT
The reason it is staggering is that one of the main reasons for founding the NT was to keep the classical repertoire alive in modern performance, and this has remained a core aspect of the NT's work throughout its existence. But, without any public debate or explanation, it has virtually gone from the forthcoming year's programme of over twenty productions. And, also without any public debate or explanation, it has been removed from the NT's mission statement. Staggering! Please note that I have made no value judgements or comments - Just Facts! that is fair enough: they do often do Q and A's and what not, if I am ever at one with Rufus, i'll bring it up! 'Hello Mr Norris, zahidf from Theatreboard. Did you know Mr Billington and Honoured Guest think your programming is staggering' |
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Post by lynette on Apr 22, 2017 23:24:26 GMT
They have a duty to present stuff that is good. In fact to present stuff that is the very best. Simples.
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Post by Polly1 on Apr 23, 2017 10:59:50 GMT
Couple of interviews with Hytner in today's papers. I see he is boasting that they have 30 ladies' loos. Still won't go far among large proportion of 900 audience. To be fair, interviews are interesting and I really hope the venture is a success.
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Post by lynette on Apr 23, 2017 11:01:39 GMT
30? Hmmm we'll see.
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Post by Jan on Apr 23, 2017 11:18:19 GMT
I don't get this idea people have that the NT is lacking for classics. What's Hedda? What's Twelfth Night? What's Chekhov? They can't do all classics all the time, as they also have a responsibility to develop new writing and are one of the theatres that can afford to give a large amount of space and time to new writing, but they're not completely neglecting the classics, though to hear some people talk you'd think they were. Billington's point is they are not exploring the classical repertoire. Because they have given over the smaller Dorfmann theatre entirely 100% to new plays the classics they programme in the larger spaces have to be from the popular safe overly-familiar classical repertoire - the three you mention for example - unfamiliar writers, or lesser-known plays from familiar writers don't get a look in at all. He also points out that there are a lot of theatres programming exclusively new writers (Bridge (except for one production), Dorfmann, Royal Court, Hampstead, Bush) that it is becoming unbalanced. |
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Post by Deleted on Apr 23, 2017 13:58:55 GMT
A big part of the reason for funding the Royal Opera House is to keep performance practice alive. Similarly, theatre companies should continue to reimagine the classical repertoire. It's not enough to say that only the RSC has a requirement to do this.
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Post by Jan on Apr 23, 2017 15:03:52 GMT
A big part of the reason for funding the Royal Opera House is to keep performance practice alive. Similarly, theatre companies should continue to reimagine the classical repertoire. It's not enough to say that only the RSC has a requirement to do this. I think for most of their history the RSC have had the opposite problem, particularly under Adrian Noble, in that they've had very limited commitment to new writing. |
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Post by martin1965 on Apr 23, 2017 15:42:41 GMT
A big part of the reason for funding the Royal Opera House is to keep performance practice alive. Similarly, theatre companies should continue to reimagine the classical repertoire. It's not enough to say that only the RSC has a requirement to do this. I think for most of their history the RSC have had the opposite problem, particularly under Adrian Noble, in that they've had very limited commitment to new writing. Hmmm as opposed to the NT tho its not really part of their remit. Whats also interesting is that under the Botd and Doran regimes they have ditched european drama. Seems like it will be a while til we see Ibsen, Chekhov or the like at Stratford. |
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Post by Jan on Apr 23, 2017 19:23:07 GMT
I think for most of their history the RSC have had the opposite problem, particularly under Adrian Noble, in that they've had very limited commitment to new writing. Hmmm as opposed to the NT tho its not really part of their remit. Whats also interesting is that under the Botd and Doran regimes they have ditched european drama. Seems like it will be a while til we see Ibsen, Chekhov or the like at Stratford. Boyd staged a season of Russian work, though it was terminated early for some unannounced reason with several already announced productions not appearing. |
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Post by lynette on Apr 23, 2017 19:24:34 GMT
We did have Miller at RSC. I think Doran is conscious of anniversaries so if there is a significant one in relation to any 'European ' writer then he will prob get on to it 😁
We do have some nods towards China and the 'East' last year and this. And don't forget that the RSC has taken Willy, Henry IV and HenryV to China.
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Post by Jan on Apr 23, 2017 19:36:39 GMT
We did have Miller at RSC. I think Doran is conscious of anniversaries so if there is a significant one in relation to any 'European ' writer then he will prob get on to it 😁 We do have some nods towards China and the 'East' last year and this. And don't forget that the RSC has taken Willy, Henry IV and HenryV to China. We had the most commercial Miller with an eye to a transfer. Miller is a good example, the NT through their current policy are specifically excluding revivals of anything except the 2 or 3 most popular Miller plays because the Dorfmann is new plays only and his lesser plays would be commercial suicide in the large theatre. So, their past series of Miller productions in the Cottesloe including The American Clock and After The Fall and All My Sons and A View From The Bridge is now totally at an end, and I think that's wrong. |
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Post by martin1965 on Apr 24, 2017 5:39:14 GMT
Hmmm as opposed to the NT tho its not really part of their remit. Whats also interesting is that under the Botd and Doran regimes they have ditched european drama. Seems like it will be a while til we see Ibsen, Chekhov or the like at Stratford. Boyd staged a season of Russian work, though it was terminated early for some unannounced reason with several already announced productions not appearing. Oh yes what an unmitigated disaster that was!! A very odd vanity project |
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Post by martin1965 on Apr 24, 2017 5:43:29 GMT
We did have Miller at RSC. I think Doran is conscious of anniversaries so if there is a significant one in relation to any 'European ' writer then he will prob get on to it 😁 We do have some nods towards China and the 'East' last year and this. And don't forget that the RSC has taken Willy, Henry IV and HenryV to China. Ah yes China, dont get me started! He is keen on anniversaries but the fairly recent Ibsen and Chekhov ones went unremarked. Compared to the decades before 2002 there has been a huge policy change at RSC re the non Shakey repertoire. Not saying thats a bad thing but its certainly there. |
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Post by martin1965 on Apr 24, 2017 5:46:56 GMT
We did have Miller at RSC. I think Doran is conscious of anniversaries so if there is a significant one in relation to any 'European ' writer then he will prob get on to it 😁 We do have some nods towards China and the 'East' last year and this. And don't forget that the RSC has taken Willy, Henry IV and HenryV to China. We had the most commercial Miller with an eye to a transfer. Miller is a good example, the NT through their current policy are specifically excluding revivals of anything except the 2 or 3 most popular Miller plays because the Dorfmann is new plays only and his lesser plays would be commercial suicide in the large theatre. So, their past series of Miller productions in the Cottesloe including The American Clock and After The Fall and All My Sons and A View From The Bridge is now totally at an end, and I think that's wrong. Hmmm i am as you will have noticed a Miller fan but AC and View were thirty years ago and ATF wasnt in Cottesloe. As we have commented before tho the likes of us arent who Rufus is after!! |
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Post by Deleted on Apr 24, 2017 5:47:35 GMT
Hytner interview - www.theguardian.com/stage/2017/apr/23/nicholas-hytner-national-theatre-memoir-interview-bridgeThey keep saying this ... And I keep thinking "What about the New London Theatre?" The clue is in the name surely? OK, it was built on the site of a previous theatre but that closed in 1959 and was demolished in 1965, with the New London opening in 1973. So how does this not count as a "new commercial theatre of any scale"? I mean, presumably Hytner and Starr went along to see War Horse there at some point so they must be aware it exists? |
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Post by Jan on Apr 24, 2017 5:59:59 GMT
We had the most commercial Miller with an eye to a transfer. Miller is a good example, the NT through their current policy are specifically excluding revivals of anything except the 2 or 3 most popular Miller plays because the Dorfmann is new plays only and his lesser plays would be commercial suicide in the large theatre. So, their past series of Miller productions in the Cottesloe including The American Clock and After The Fall and All My Sons and A View From The Bridge is now totally at an end, and I think that's wrong. Hmmm i am as you will have noticed a Miller fan but AC and View were thirty years ago and ATF wasnt in Cottesloe. As we have commented before tho the likes of us arent who Rufus is after!! Ah, your memory playing tricks again Marty, ATF certainly WAS in the Cottesloe which is where I saw it - I can't recall if it transferred to a larger theatre later. Another example. In the Cottesloe they staged "The Enchantment" by Victoria Benedictsson (1888). She was one of the only female playwrights of the era and was a notable protofeminist. The play did reasonable business, had Nancy Carroll in it, and was both good and historically interesting. The current NT is policy is that they wouldn't stage this play. |
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Post by schuttep on Apr 24, 2017 9:35:05 GMT
Hmmm as opposed to the NT tho its not really part of their remit. Whats also interesting is that under the Botd and Doran regimes they have ditched european drama. Seems like it will be a while til we see Ibsen, Chekhov or the like at Stratford. The RSC are doing Oscar Wilde's Salome this year. Oscar, being Irish, is European! |
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Post by Deleted on Apr 24, 2017 9:59:09 GMT
Meanwhile, back to the Bridge. Nick Hytner was on Start the Week this morning focusing on his new book Balancing Acts about his time at the NT. Perhaps a bit of a lost opportunity to interest a wider public in the Bridge project?
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Post by bordeaux on Apr 24, 2017 10:19:36 GMT
Meanwhile, back to the Bridge. Nick Hytner was on Start the Week this morning focusing on his new book Balancing Acts about his time at the NT. Perhaps a bit of a lost opportunity to interest a wider public in the Bridge project? Is the Start the Week audience 'a wider public'? I imagine they're pretty much the sort of people who'd be interested in the Bridge theatre anyway... |
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Post by Deleted on Apr 24, 2017 10:26:25 GMT
Is the Start the Week audience 'a wider public'? I imagine they're pretty much the sort of people who'd be interested in the Bridge theatre anyway... They'd be interested in the Bridge but they need to hear about it first! A live discussion programme is a good opportunity to engage people with all sorts of aspects of the project, and different features will be of especial interest to different people. |
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Post by lynette on Apr 24, 2017 11:57:32 GMT
Hytner's book was reckoned not so good in the weekend rags. No real meat! It must have been timed to go with the new theatre razamatazz. No doubt to be sold in the foyer. I read in Sunday T that Mr Dorfman has coughed up for the Bridge- what a saintly man! Will there be a Dorfman bar do you think?
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