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Post by zahidf on Oct 3, 2017 10:18:38 GMT
Octoroon transferring to the Dorfman in June 2018
Three plays in a row before that written by women in the Dorfman
New After Miss Julie adapted by Polly Stenham, directed by Carrie Cracknel in the Lyttleton |
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Post by crowblack on Oct 3, 2017 10:38:48 GMT
"He’s addressing the issue of female writers ending up on smaller stages at the NT. Kirkwood wanted it to be small, apparently."
So it was raised as an "issue". I like smaller stages, btw, but that's because my eyesight is crap and close-up seats are cheaper - disappointed Absolute Hell isn't going to be in the Dorfman.
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Post by Deleted on Oct 3, 2017 10:42:40 GMT
“He’s addressing the issue” how exactly? He’s just announced a season with ONE play by a woman on the two main stages (an adaptation of a play by a man), which also includes David Hare’s EIGHTEENTH new play at the National
Not sure how Hare’s total compares with number of plays at the National by women (20 up to 2013, not sure which were on the main stages)
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Post by crowblack on Oct 3, 2017 10:48:20 GMT
“He’s addressing the issue” how exactly? Yes, the 'he's addressing the issue" comment was on Twitter before the NT tweeted the list of plays at the Dorfman...and that's where the women are. Surprise! Maybe some of them prefer the 'intimate' space but even that has an element of cultural conditioning about it. It's also where the BAME plays seem to end up, too. |
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Post by Snciole on Oct 3, 2017 10:55:50 GMT
There's some interesting main casting (some good diversity and solid performers in India Varma and Sophie Okonedo, for example) and some good choices (though do we need another Miss Julie adaptation) but I am not sure I can see people flocking to a play about paedophiles, look how well The Nether did...
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Post by MrBunbury on Oct 3, 2017 11:07:36 GMT
There's some interesting main casting (some good diversity and solid performers in India Varma and Sophie Okonedo, for example) and some good choices (though do we need another Miss Julie adaptation) but I am not sure I can see people flocking to a play about paedophiles, look how well The Nether did... Where did you get this information? I must have gone blind. |
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Post by zahidf on Oct 3, 2017 11:08:35 GMT
There's some interesting main casting (some good diversity and solid performers in India Varma and Sophie Okonedo, for example) and some good choices (though do we need another Miss Julie adaptation) but I am not sure I can see people flocking to a play about paedophiles, look how well The Nether did...
Is that at the Dorfman?
I imagine if they get one big name in it, it'll be fine
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Post by bordeaux on Oct 3, 2017 11:09:07 GMT
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Post by Deleted on Oct 3, 2017 11:12:05 GMT
There's some interesting main casting (some good diversity and solid performers in India Varma and Sophie Okonedo, for example) and some good choices (though do we need another Miss Julie adaptation) but I am not sure I can see people flocking to a play about paedophiles, look how well The Nether did... Where did you get this information? I must have gone blind. Ta Dah! Take A Look. No Don't. Go On. No Don't. If You Say So . . . |
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Post by MrBunbury on Oct 3, 2017 11:21:45 GMT
I cannot see Bruce Norris' play though.
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Post by zahidf on Oct 3, 2017 11:23:36 GMT
I cannot see Bruce Norris' play though. As above, it's from Baz. I assume it will be announced for end of 2018 |
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Post by Jan on Oct 3, 2017 12:38:14 GMT
You’ve got to admire the way Sir David Hare ingratiates himself with every successive NT AD to preserve his subsidised lifestyle. The only exception was Trevor Nunn who didn’t rate him and Hare threw an enormous strop at that.
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Post by Deleted on Oct 3, 2017 14:20:51 GMT
From the NT website:
Antony and Cleopatra by William Shakespeare
From September 2018
Simon Godwin follows the success of Twelfth Night with another Olivier Theatre Shakespeare. Ralph Fiennes and Sophie Okonedo play the titular lovers, with design by Hildegard Bechtler.
This could be interesting... I'm assuming that as we're going topsy-turvy these days Sophie Okonedo will play Antony and Ralph Fiennes will play Cleo.
Hildegard's got her work cut out for her...
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Post by dani on Oct 3, 2017 15:15:26 GMT
You’ve got to admire the way Sir David Hare ingratiates himself with every successive NT AD to preserve his subsidised lifestyle. The only exception was Trevor Nunn who didn’t rate him and Hare threw an enormous strop at that. I wouldn't think what he gets for a National Theatre production is anywhere near what he makes from films like The Hours and The Reader. That's not to say I feel even a flicker of excitement at the thought of another play by him. |
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Post by Jan on Oct 3, 2017 16:37:40 GMT
You’ve got to admire the way Sir David Hare ingratiates himself with every successive NT AD to preserve his subsidised lifestyle. The only exception was Trevor Nunn who didn’t rate him and Hare threw an enormous strop at that. I wouldn't think what he gets for a National Theatre production is anywhere near what he makes from films like The Hours and The Reader. That's not to say I feel even a flicker of excitement at the thought of another play by him. Not sure. Commercial transfers of NT plays to the West End and Broadway can be enormously lucrative for the playwrights (I learn from the example of Peter Shaffer), more so than for the director and actors these days. I sort of assume that was partly behind Sir David's coded attack on Robert Icke and directors' theatre - that Icke directed Red Barn in such a way that it prevented a transfer. |
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Post by jadnoop on Oct 3, 2017 17:29:32 GMT
Disappointing that there's still no news on Annie Baker's John. If I remember rightly it's supposed to be early 2018 Dorfman, so it seems strange that no info has come out about it.
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Post by Rory on Oct 3, 2017 19:27:49 GMT
Disappointing that there's still no news on Annie Baker's John. If I remember rightly it's supposed to be early 2018 Dorfman, so it seems strange that no info has come out about it. It's mentioned in the press release today as starting in the Dorfman in early 2018. It says that James Macdonald will direct a cast including Georgia Engel. |
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Post by Rory on Oct 3, 2017 19:45:16 GMT
They seem to have issued two slightly different press releases. One mentions John and the other doesn't. Strange.
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Post by Deleted on Oct 4, 2017 10:22:56 GMT
They seem to have issued two slightly different press releases. One mentions John and the other doesn't. Strange. is missing from the 2018 press release on the NT website. Barber Shop Chronicles ends on 9 Jan and the press night of The Great Wave is 19 Mar so there's two months in the Dorfman still to be announced. Might it be an extension or second run, perhaps of The Jungle? Or it might be a second Limited Editions season, like last year's Us/Them, Dublin Oldschool, My Country; a work in progress and Lost Without Words? Or is the NT scouring the USA for an American play to bring over? |
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Post by Deleted on Oct 4, 2017 10:39:00 GMT
Is The Lehman Trilogy going to be an actual trilogy, like the Young Chekhovs or the James Plays, or is it more of a Father Came Home From the Wars (Parts 1, 2 & 3), taking only a single evening in spite of its name?
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Post by Deleted on Oct 4, 2017 10:43:06 GMT
Is The Lehman Trilogy going to be an actual trilogy, like the Young Chekhovs or the James Plays, or is it more of a Father Came Home From the Wars (Parts 1, 2 & 3), taking only a single evening in spite of its name? According to this article in the Guardian, it will be three parts in one night. The original Italian play was apparently 5 hours but this will be shorter according to Ben Power. 5 blinkin' hours?!?!? |
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Post by Deleted on Oct 4, 2017 10:46:10 GMT
Well, Ben Power managed to knock Emperor and Galilean down from something like nine hours to a mere three, so at least they've got the right man for the job.  |
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Post by bordeaux on Oct 4, 2017 10:55:58 GMT
I wouldn't think what he gets for a National Theatre production is anywhere near what he makes from films like The Hours and The Reader. That's not to say I feel even a flicker of excitement at the thought of another play by him. Not sure. Commercial transfers of NT plays to the West End and Broadway can be enormously lucrative for the playwrights (I learn from the example of Peter Shaffer), more so than for the director and actors these days. I sort of assume that was partly behind Sir David's coded attack on Robert Icke and directors' theatre - that Icke directed Red Barn in such a way that it prevented a transfer. This is not believable. Hare has not had a West End transfer from the National since Amy's View in 1997. Why would he expect one from this play? He presumably let Icke do the job as he admired him. Hare has had several West End revivals of his major plays, which is not the same thing. Peter Hall, Richard Eyre, Nicholas Hytner and Stephen Daldrey amongst other directors admire his work. Actors of the calibre of Judi Dench, Maggie Smith, Michael Gambon, Bill Nighy, Rachel Weisz, Nicole Kidman, Roger Allam admire his plays enough to appear in them. His work has been patchy over the past 20 years, I agree, but he's rarely less than entertaining, and often a lot more. |
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Post by Jan on Oct 4, 2017 13:06:25 GMT
Not sure. Commercial transfers of NT plays to the West End and Broadway can be enormously lucrative for the playwrights (I learn from the example of Peter Shaffer), more so than for the director and actors these days. I sort of assume that was partly behind Sir David's coded attack on Robert Icke and directors' theatre - that Icke directed Red Barn in such a way that it prevented a transfer. This is not believable. Hare has not had a West End transfer from the National since Amy's View in 1997. Why would he expect one from this play? He presumably let Icke do the job as he admired him. Hare has had several West End revivals of his major plays, which is not the same thing. Peter Hall, Richard Eyre, Nicholas Hytner and Stephen Daldrey amongst other directors admire his work. Actors of the calibre of Judi Dench, Maggie Smith, Michael Gambon, Bill Nighy, Rachel Weisz, Nicole Kidman, Roger Allam admire his plays enough to appear in them. His work has been patchy over the past 20 years, I agree, but he's rarely less than entertaining, and often a lot more. Here’s Sir David moaning about Europe-style directors “infecting” our theatre. Pretty clear this includes Robert Icke. www.theguardian.com/stage/2017/jan/29/david-hare-classic-british-drama-infected-radical-european-staging |
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Post by bordeaux on Oct 4, 2017 13:20:46 GMT
This is not believable. Hare has not had a West End transfer from the National since Amy's View in 1997. Why would he expect one from this play? He presumably let Icke do the job as he admired him. Hare has had several West End revivals of his major plays, which is not the same thing. Peter Hall, Richard Eyre, Nicholas Hytner and Stephen Daldrey amongst other directors admire his work. Actors of the calibre of Judi Dench, Maggie Smith, Michael Gambon, Bill Nighy, Rachel Weisz, Nicole Kidman, Roger Allam admire his plays enough to appear in them. His work has been patchy over the past 20 years, I agree, but he's rarely less than entertaining, and often a lot more. Here’s Sir David moaning about Europe-style directors “infecting” our theatre. Pretty clear this includes Robert Icke. www.theguardian.com/stage/2017/jan/29/david-hare-classic-british-drama-infected-radical-european-stagingI remember the article, and he's criticized European directors before for mucking around with his own work, adding bizarre elements that bear no relation to what he wrote. What I was taking exception to was your suggestion that his objection to work like this was financial rather than artistic. If he doesn't like Icke's work (or van Hove's) it's because he thinks it betrays the writer's work, not because he personally won't make as much money from it. |
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