The National Theatre General Thread

One thing I don’t like about Norris’s programming is his decision to fill the Dorfmann with 100% new plays, it means the NT has entirely abandoned the lesser and more obscure classical repertoire because they can’t fill the two bigger auditoriums with them. For example he totally ignored the 400th anniversary of the birth of Molière as he has Ben Jonson, Shaw, Marlowe … it is a long list.

Some posts removed. If we could have the discussion without sniping at each other it would be appreciated, thank you. 

The Dorfmann always used to host new plays, just not ALL new plays until Norris took over. There are lots of smaller subsidised theatres which do new plays, some of them only new plays, so I don't think lack of alternative venues is a problem. In their latest email the Finborough said something interesting - that it was commercially better for them to stage new plays rather than obscure revivals - all the more reason for NT to put some of their massive subsidy behind that under-represented sector a little more than they do now (which is not at all). 

It's interesting what everyone considers as being most important to them when it comes to the National Theatre programming. I think pretty much everything in this line up looks great, especially the new Dorfman plays Infinite Life, Till the Stars Come Down and The Hot Wing King.

That said, I'm someone who could take or leave Shakespeare. Once I've seen a play once I'm unlikely to go again for another production unless the casting really appeals.

Leslie Philips talks a lot about the first production in his autobiography. He and, IIRC Muriel Pavlow, were the two children

Is this where we are discussing the next AD of the NT? Please direct me, ta

But this new season is no different to any other season he’s programmed even before Covid is it ? A clear majority of new plays and a few high-profile revivals. It’s in line with what he said before he took the job actually.

I’m sorry to say that I think the Rufus era has been a disaster for the NT. He didn’t take us anywhere in terms of new work or revivals or classical theatre. My attendance just dwindled even before Covid. The Covid era was certainly bad luck for him but post Covid he should have had a few ideas ready to fly. It reminds me of when he took over. I wonder how these guys operate. If you were up for the big job would you not have a few ideas ready based on phone calls to directors, writers and actors? I do not that some of us are happy with his latest programming but as I browse through the brochure I am not inspired. Lots of new plays rather like a Donmar or a Hampstead programme, nothing to say this is the premier theatre of the UK, we put on the very best of international theatre and classical theatre, we have three dynamic spaces and with a repertoire to suit all ages and tastes….I’m dreaming. I went to see the Motive and Cue recently. Drab foyer, nothing happening there or in the vastly open spaces in front, no buskers, nada. Food offerings poor. ( snacks dire) This new restaurant? Anybody fancy? Honestly, they should get a grip. They sit on what must be one of the most iconic bits of real estate in Europe but could be a converted factory in Wembley. Apologies to Wembley but you get my drift.
I’m hoping for a couple of new ADs ( yes I’m a pluralist) with ideas, who can take a company with them and create a vibrant theatre venue.

First stab at a summary of the Rufus Norris era in the Telegraph today. It's paywalled but you can avoid it. I won't put the link here because the post will likely be deleted but if you google '12ft ladder' you might find something.

www.telegraph.co.uk/theatre/what-to-see/rufus-norris-national-theatre/


Rufus Norris: the man who never escaped Nicholas Hytner's shadow

On balance I think he's been the worst AD they've had, it's a toss up between him and Richard Eyre, no question the others were far better.  

Lynette for the job. That is it. She has my vote!

In the last couple of months the National has turned out some terrific productions: The Crucible, The Corn is Green, Phaedra, The Motive and the Cue, Dancing at Lunghasa and colllectively they almost make up for the financial and artistic debacle that was "hex". But the new writing in the Dorfman has been lackluster ( Dixon and Daughters, anyone?) and as others have pointed out walking into the building isn't the joyful experience it was during the Hytner years - what happened to the Platforms? Why is the bookshop a tourist shop worthy of the London Eye and what's with all the signage saying "Welcome, we're an inclusive space...etc. etc.." Don't announce that you're an inclusive space - simply BE an inclusive space. The National is a great theatre and wonderful institution but it needs to act like a great theatre and unique institution and the nepotism and the elevation of some artists who perhaps aren't ready yet ( Clint Dyer anyone?) is what Rufus will leave behind. Of course there were some great shows but the streamlining changes - no plays in rep, some sets that were down right cheap, the farming out of all the food, the elimination of the Oliver cloak room, etc etc. are the stains on the National's reputation and they're his legacy.