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Post by learfan on Feb 19, 2020 11:55:29 GMT
Why do so many people on here hate him? I think the NT's programming is always interesting, with some really great shows Why do so many people on here like him ? I think the NT’s programming is always uninteresting and aimed at the same type of audience. As a result I’ve barely been there during Norris’ rule. Snappy snap snap😏 |
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Post by asfound on Feb 19, 2020 12:15:54 GMT
Kind of ambivalent about the line-up to be honest, the names are somewhat encouraging but the content less so. Alice Birch/Katie Mitchell again is exciting, but Rachel Cusk's novels? They are so tedious and first-world-problemy.
Simon Stone's Medea was fantastic but Phaedra yet again?
Lucy McCormick is an interesting choice for Cathy (saw her show at Soho Theatre and she had a certain deranged intensity) but I don't think I can stomach Wuthering HeightsxEmma Rice.
Not sure what a theatre version of After Life is going to add to the excellent film version - it already feels quite stagey but should be interesting at least.
The rest doesn't look massively exciting to me.
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Post by oxfordsimon on Feb 19, 2020 12:34:38 GMT
One concern is that the NT is originating only one new play not based on another source, the April de Angelis. I've never seen anything by her (in 30 years of theatre-going) but she isn't a major name; she may be respected within theatre circles but hasn't made an impact beyond that. Where are the big-name writers writing original stuff? Jez Butterworth? Lucy Prebble? Martin McDonagh? Adaptations can be good box office - particularly if the original is a well-established piece. But if you are going to make new writing such a centrepiece of your regime, surely you need to be more ambitious. I guess we should be thankful that the obsession with Churchill and Marber has subsided. But new writing should be more than just adapting existing titles for the stage. |
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Post by Steve on Feb 19, 2020 12:50:44 GMT
The "25 percent extra tickets at £20" is funded by plonking an extra 33 percent onto the price of £15 tickets, thus pricing out people who can't afford £20 tickets!  |
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Post by samuelwhiskers on Feb 19, 2020 13:14:31 GMT
I'm no Norris fan either, but I'm surprised keen theatregoers can't find even one thing they might want to see, in such a lengthy and varied list of plays, new writing, adaptations, classics, and musicals. One concern is that the NT is originating only one new play not based on another source, the April de Angelis. I've never seen anything by her (in 30 years of theatre-going) but she isn't a major name; she may be respected within theatre circles but hasn't made an impact beyond that. Where are the big-name writers writing original stuff? Jez Butterworth? Lucy Prebble? Martin McDonagh? I'm cringing as I write this because I know it's super twatty to be all "ooh I know stuff I can't talk about publicly" but they have one play that absolutely meets your criteria in the works. I'm friends with a few of 'big name' writers, and the issue really is that there are not so many major name writers, and they're all hugely busy and in-demand, and few of them want the poisoned chalice of writing for the Olivier. Money is part of it too. I'm sure the NT board would trample their own grandmothers to be able to debut a new Butterworth play, but it's not that easy. |
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Post by bordeaux on Feb 19, 2020 13:33:30 GMT
I'm no Norris fan either, but I'm surprised keen theatregoers can't find even one thing they might want to see, in such a lengthy and varied list of plays, new writing, adaptations, classics, and musicals. One concern is that the NT is originating only one new play not based on another source, the April de Angelis. I've never seen anything by her (in 30 years of theatre-going) but she isn't a major name; she may be respected within theatre circles but hasn't made an impact beyond that. Where are the big-name writers writing original stuff? Jez Butterworth? Lucy Prebble? Martin McDonagh? I'm cringing as I write this because I know it's super twatty to be all "ooh I know stuff I can't talk about publicly" but they have one play that absolutely meets your criteria in the works. I'm friends with a few of 'big name' writers, and the issue really is that there are not so many major name writers, and they're all hugely busy and in-demand, and few of them want the poisoned chalice of writing for the Olivier. Money is part of it too. I'm sure the NT board would trample their own grandmothers to be able to debut a new Butterworth play, but it's not that easy. Rest assured, samuelwhiskers, it doesn't sound remotely twatty to me. I enjoyed your last post where you mentioned this and I have been happily speculating ever since. As you say, there are a relatively few big names and they're in demand everywhere. I note that J T Rogers of Oslo fame is writing something for Netflix. Butterworth has his Romans in Britain series on some other channel. I just don't have the time for TV, I'm afraid, even something like Succession which my friends tell me is fabulous. These series are so long and seemingly endless I just don't have time for them plus theatre plus cinema plus the odd novel. I do realise, though, that not watching TV series in the 2010s may be like not going to the theatre in the 1590s or giving up on the novel in the 1840s. |
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Post by Deleted on Feb 19, 2020 13:38:20 GMT
The "25 percent extra tickets at £20" is funded by plonking an extra 33 percent onto the price of £15 tickets, thus pricing out people who can't afford £20 tickets! Yes, does appear to be the case going by the brochure. On the other hand they have reduced the Friday Rush tickets to £10. Anyone remember how long those seats have been £15? |
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Post by MrBunbury on Feb 19, 2020 13:43:53 GMT
I find plenty of interesting things in the announcement. I love Katie Mitchell and I am curious about "Blues for an Alabama sky", “Standing at sky’s edge” and “Paradise”. The cheap Friday Rush tickets sound great (although I like booking everything well in advance so I will be torn from now on).
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Post by Dave B on Feb 19, 2020 14:29:49 GMT
The cheap Friday Rush tickets sound great (although I like booking everything well in advance so I will be torn from now on). My better half likes to tease me as I often have tickets booked months in advance and our calendar up-to-date but I too am thinking these Rush tickets are a really good option for us. |
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Post by kathryn on Feb 19, 2020 16:21:40 GMT
The NT are damned if they do and damned if they don't.
It's impossible for every new season announcement to please everyone!
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Post by Jon on Feb 19, 2020 16:46:43 GMT
The NT are damned if they do and damned if they don't. It's impossible for every new season announcement to please everyone! It’s the same with other theatre announcements. Everyone seems to love to have a good moan |
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Post by zahidf on Feb 19, 2020 17:27:13 GMT
The NT are damned if they do and damned if they don't. It's impossible for every new season announcement to please everyone! I probably could have cut and paste the criticism of the season in some cases...:-) |
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Post by londonpostie on Feb 20, 2020 0:35:26 GMT
Always a lot to take in when the National announces; I tend to feel overwhelmed for a while.
If you can't find something you like between Kate Tempest, Nadia Fall and Kristin Scott Thomas then good luck to you.
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Post by Deleted on Feb 20, 2020 1:56:06 GMT
I've always appreciated artistic directors who carve out a clear identity for what to expect from their seasons. I may not like their direction, but it allows me to know what I should (and should not) look to their establishments for in terms of my likely ticket purchases.
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Post by showgirl on Feb 20, 2020 12:32:11 GMT
I thought the new productions looked very varied and certainly included several for me; maybe even enough to tempt me to resume (some sort of) membreship again, depending on how many plays/shows proved to be inlcuded in the same booking date.
Admittedly I was already disappointed to have missed out on Standing At The Sky's Edge in Sheffield so would have gone to see that wherever it opened in London - or I'd have returned to Sheffield if necessary, but that clearly involves much more planning and expense.
Also, I might prefer to see Welcome To Iran at Stratford East (despite the longer journey), as it's far more affordable and a nice old theatre.
However, that still leaves other new things which appeal to me. Unlike others here I've never had any sense of how one AD's time at the NT differs from that of another in terms of range and choice of productions - but that's probably to my benefit as the AD's identity is not an issue for me. I have on the other hand a very keen awareness of the difference this can make elsewhere - most noticeably at the Orange Tree, for example, but also now at the Yvonne Arnaud - so I do appreciate the impact that a change of AD can have in some respects.
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Post by couldileaveyou on Feb 21, 2020 12:45:11 GMT
It looks like they just changed the Entry Pass scheme:
From Wednesday 26 February, you can unlock £5 and £10 tickets for all of our current shows, including Death of England, The Welkin and The Visit:
*£5 tickets if you're aged 16-18
*£10 tickets if you're aged 19-25
This new offer will replace our Entry Pass scheme, which has now closed - this means you can access tickets without the need to register in advance.
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Post by Deleted on Feb 21, 2020 13:53:18 GMT
The Friday rush tickets have already dropped to £10 - booked one for The Visit this afternoon
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Post by NeilVHughes on Feb 21, 2020 22:23:21 GMT
With you showgirl decided to see Welcome to Iran at Stratford East, front row for £10 easily compensates for any travel inconvenience and as you say it is a nice old Theatre and most probably needs the patronage more than the National. |
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Post by cartoonman on Feb 23, 2020 10:14:05 GMT
I really like Stratford East. I have been going there since the 70s. Recently the shows seem to be more serious. I would I've to see some of the me lodramers that they used to do. Zo rro with Sylvester Mcoy was excellent also Five Guys named Moe. The theatre is charming, has a good bar and is easy to get to, Its just opposite the station.
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Post by londonpostie on Feb 23, 2020 10:36:51 GMT
Went there last month and liked it a lot - just an all-round good vibe. Good bar and DJ, as well. It's not your Sloane Square crowd that's for sure.
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Post by Deleted on Feb 23, 2020 10:43:12 GMT
i like the look of a lot of this and I am wondering if now might be the right time to get membership again. People who are members and who are excited about this line up, can you tell me what level of membership you’d recommend and what you think the benefits are as a regular NT theatregoer?
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Post by Forrest on Feb 23, 2020 11:49:06 GMT
i like the look of a lot of this and I am wondering if now might be the right time to get membership again. People who are members and who are excited about this line up, can you tell me what level of membership you’d recommend and what you think the benefits are as a regular NT theatregoer? I'd be curious about this as well: one of my other memberships expires soon, and I am considering paying for an NT one instead. I'm so late to this party, but Katie Mitchell returning to London must be one of my biggest joys of the year so far! Overall, their new season looks great to me. Sad to see the £15 tickets go, though - seeing theatre really is getting more and more expensive by the day... |
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Post by Deleted on Feb 23, 2020 13:26:11 GMT
i like the look of a lot of this and I am wondering if now might be the right time to get membership again. People who are members and who are excited about this line up, can you tell me what level of membership you’d recommend and what you think the benefits are as a regular NT theatregoer? I'd be curious about this as well: one of my other memberships expires soon, and I am considering paying for an NT one instead. I'm so late to this party, but Katie Mitchell returning to London must be one of my biggest joys of the year so far! Overall, their new season looks great to me. Sad to see the £15 tickets go, though - seeing theatre really is getting more and more expensive by the day... Having just stumped up for The Upstart Crow, I am very agreeing with you right now. |
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Post by londonpostie on Feb 23, 2020 14:09:17 GMT
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Post by showgirl on Feb 23, 2020 15:40:05 GMT
Interesting - and imo typically sneaky of the NT - that they have introduced several more membership levels without, so far as I am aware, any announcement. Of a piece with their admission, when I asked directly, that they withheld some tix at each booking stage for public booking. I think the average member would assume and expect that those in the top level of membership would have access to 100% of the tickets available to buy in advance (ie all but the Friday Rush allocation), yet comments on here led me to suspect otherwise so I asked. With the answer was the explanation that being a public theatre, it would be unacceptable not to have tix available when public booking opened. Fine, but be honest and upfront and tell members this so they can make an informed decision before buying/renewing membership.
The NT is similarly economical with the truth about how much of the membership fee it is actually necessary to pay as part of it is a donation of which the average person would again be unaware. I was told that of the £80 Priority cost, only £15 is for the membership itself and the other £65 a donation to the NT, so if anyone insisted, s/he could have Priority membership for £15, making it cheaper than Advance, given that level now costs £25. Of course Advance membership probably also includes an involuntary donation and I wouldn't have the nerve to ask not to pay the donation element.
Who knew however that in addition to Patron at the top of the membership tree and Advance at the foot, there is now not only a Supporting Cast tier (one below patron) but also 2 types of Priority membership, normal and Priority Plus? I make that 5 tiers in total before the public are able to book, so before joining again I'd want to pay close attention to the various membership levels, costs and benefits.
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