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Post by andrew on Jun 15, 2023 11:16:47 GMT
Annie Baker is back!!!
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931 posts
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Post by max on Jun 15, 2023 11:18:09 GMT
Can you imagine the internet furore if Clint Dyer - with some directorial but no AD experience - doesn't now get it: can we really see a white person - male or female - being brought in above a black Deputy AD?
The Gov would have to set up a helpline for distraught white, middle-class, managerial / professional liberals.
Rubasingham, Dyer or, outside bet, Nadia Fall. Not all of whom fill me with joy. But Clint Dyer has hardly directed anything of note, it appears to me; just an Othello at the NT and a Roy Williams play. It's surprising to me that he is Deputy AD at all with that track record. To be AD you need lots of experience in directing the canon at a high level, plus new plays, with a bit of showmanship (an ability to direct the occasional hit that will transfer). Was the role of Deputy Artistic Director advertised? Perhaps it was - I don't remember. I have a real problem with public sector posts being invited rather than recruited. It doesn't matter how talented the recipient is - other talented people are also available and should have the opportunity to put themselves forward.
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Post by bordeaux on Jun 15, 2023 11:20:08 GMT
I was surprised to learn that Dear Octopus hasn't been revived in 57 years. Potentially an interesting rediscovery - fascinating to read about the opening production on Wikipedia. Gielgud in the original cast.
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Post by oxfordsimon on Jun 15, 2023 11:42:16 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me.
I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre.
Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again.
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6,369 posts
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Post by Jon on Jun 15, 2023 12:23:47 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing.
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Post by Jan on Jun 15, 2023 12:28:34 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing. Luckily no one at all is saying the NT should only do revivals - not sure why you’ve even said that really ?
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2,358 posts
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Post by zahidf on Jun 15, 2023 12:30:52 GMT
Up on the website Booking From midday, Tuesday 20 June Supporting Cast, Patron, Premier Patron, Benefactor & Olivier Circle Members, Young Patron Premium and Young Patron Ambassadors From midday, Thursday 22 June Priority, Priority Plus and Digital+ Members, and Young Patron Member and Young Patron Associates From midday, Monday 26 June Advance Members From midday, Friday 30 June Public booking www.nationaltheatre.org.uk/productions/death-of-england-closing-time/13 September — 11 November 2023 www.nationaltheatre.org.uk/productions/the-confessions/19 October — 4 November 2023 www.nationaltheatre.org.uk/productions/the-house-of-bernarda-alba/16 November 2023 — 6 January 2024 www.nationaltheatre.org.uk/productions/infinite-life/22 November 2023 — 13 January 2024 www.nationaltheatre.org.uk/productions/kin/12 — 27 January 2024
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Post by marob on Jun 15, 2023 12:52:34 GMT
I thought they’d already wrapped up Death of England with a TV special or something?
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Post by oxfordsimon on Jun 15, 2023 12:52:53 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing. You have absolutely no evidence for that assertion. You seem to take delight in misrepresenting my postings. Please desist.
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857 posts
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Post by bordeaux on Jun 15, 2023 13:01:53 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Yes, on a closer look, there are only three revivals out of 12 announced shows: Coriolanus, The House of Bernarda Alba, Dear Octopus. A quick look at the National Theatre Story indicates that in the 90s and 2000s there were usually two-thirds revivals, more or less, and about a third new writing. Whilst I agree that this year's new plays at the NT have been excellent and some of next year's look very good too, I would like more of the classic repertoire to play a role in the next AD's programming. As I've said before the NT, the Royal Court, the Donmar, the Hampstead, the Almeida, the Bridge all seem to be chasing the same playwrights.
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1,019 posts
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Post by andrew on Jun 15, 2023 13:23:55 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Yes, on a closer look, there are only three revivals out of 12 announced shows: Coriolanus, The House of Bernarda Alba, Dear Octopus. A quick look at the National Theatre Story indicates that in the 90s and 2000s there were usually two-thirds revivals, more or less, and about a third new writing. Whilst I agree that this year's new plays at the NT have been excellent and some of next year's look very good too, I would like more of the classic repertoire to play a role in the next AD's programming. As I've said before the NT, the Royal Court, the Donmar, the Hampstead, the Almeida, the Bridge all seem to be chasing the same playwrights. We're back in the classic question of "what is a national theatre for?", and nobody quite agrees. I quite like the balance, having two or three prestige, big budget classics but the majority of stuff being new. I want a (sort of) subsidised entity to be doing stuff the commercial side struggles with, producing new and daring plays you wouldn't be able to get producers to put money up for. The new AD gets to pick I suppose, maybe the board will want the pendulum to swing back and choose someone very sympathetic to putting on the classics. I note they're still not going back to rep for the larger houses, the concept seems to be completely dead.
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Post by oxfordsimon on Jun 15, 2023 14:04:55 GMT
I believe that the National Theatre should stage a mixed, balanced programme of plays and occasional musical.
This forthcoming season is 75% new writing which, I think, is doing a disservice to 'old writing'
Personally I would prefer a 60-40 split in favour of existing scripts (including new translations of classics not in English)
That would still give a good number of high profile opportunities for current writers but also give audiences the opportunity to encounter a fuller range of plays from all periods each season.
No commercial producer is going to do lavish productions of pieces like London Assurance and many others. So we absolutely need our National Theatre to reflect the full breadth of plays both old and new.
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Post by Dave B on Jun 15, 2023 14:09:46 GMT
Both Kin and The Confessions in the Lyttelton running for just two weeks. Very short runs for NT stages compared to recent times?
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2,358 posts
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Post by zahidf on Jun 15, 2023 14:10:42 GMT
I do think as long standards aren't slipping quality wise, the national should be doing more new writing than old.
Maybe invite new writers to adapt older plays as well for the modern day?
Some revivals are fine, but i could without another classic Shakespeare play at the national.
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Post by oxfordsimon on Jun 15, 2023 15:33:50 GMT
I do think as long standards aren't slipping quality wise, the national should be doing more new writing than old. Maybe invite new writers to adapt older plays as well for the modern day? Some revivals are fine, but i could without another classic Shakespeare play at the national. Given we have the RSC, I think there is an argument for not expecting the RNT to stage Shakespeare unless there is a compelling reason for doing otherwise. Of course, the RSC would possibly then need to return to bringing Shakespeare to London on a more regular basis.
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Post by bordeaux on Jun 15, 2023 15:36:30 GMT
I do think as long standards aren't slipping quality wise, the national should be doing more new writing than old. Maybe invite new writers to adapt older plays as well for the modern day? Some revivals are fine, but i could without another classic Shakespeare play at the national. Given we have the RSC, I think there is an argument for not expecting the RNT to stage Shakespeare unless there is a compelling reason for doing otherwise. Of course, the RSC would possibly then need to return to bringing Shakespeare to London on a more regular basis. Given the state of the RSC I'm very glad the NT and other places are doing Shakespeare; otherwise I wouldn't get to see much! The NT and the Bridge are where I go for him these days. I do agree with you that I'd like the balance shifted in favour of more classics.
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Post by Jan on Jun 15, 2023 15:41:08 GMT
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.
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Post by oxfordsimon on Jun 15, 2023 15:42:35 GMT
Given we have the RSC, I think there is an argument for not expecting the RNT to stage Shakespeare unless there is a compelling reason for doing otherwise. Of course, the RSC would possibly then need to return to bringing Shakespeare to London on a more regular basis. Given the state of the RSC I'm very glad the NT and other places are doing Shakespeare; otherwise I wouldn't get to see much! The NT and the Bridge are where I go for him these days. If the NT were to stop doing Shakespeare, there would still be a good number of London companies doing the Bard. The Globe, the Almeida, the Bridge, the Donmar, Regent's Park plus the commercial productions such as the forthcoming Branagh Lear. I am not saying that the argument for the NT dropping Shakespeare is a compelling one. But when we have a nationally funded company dedicated to Shakespeare, there is a case for not expecting the NT to regularly featuring the plays wot Will wrote (or whoever did write them)
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Post by BurlyBeaR on Jun 15, 2023 15:49:00 GMT
Some posts removed. If we could have the discussion without sniping at each other it would be appreciated, thank you.
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Post by showgirl on Jun 15, 2023 18:26:06 GMT
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. I see your point but on the other hand, for a lot of new plays, the smallest (albeit more expensive) space may be the safest place; it takes a big name to attract a Lyttelton/Olivier-size crowd to a new play and even the established writers aren't fail-safe.
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Post by Jan on Jun 16, 2023 6:23:41 GMT
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. I see your point but on the other hand, for a lot of new plays, the smallest (albeit more expensive) space may be the safest place; it takes a big name to attract a Lyttelton/Olivier-size crowd to a new play and even the established writers aren't fail-safe. 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).
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Post by cavocado on Jun 16, 2023 8:47:39 GMT
I see your point but on the other hand, for a lot of new plays, the smallest (albeit more expensive) space may be the safest place; it takes a big name to attract a Lyttelton/Olivier-size crowd to a new play and even the established writers aren't fail-safe. 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). While I'm excited by the season announcement and will probably see most, if not all of the plays, I very much agree with Jan about this. Part of a national theatre's job is surely to be a sort of custodian of theatre history, which means producing plays from all eras so that they are not just recordings/scripts, but currently in performance and engaging with modern audiences. This is particularly important with the Globe and RSC having largely abandoned non-Shakespeare revivals at the moment. Even for well known revivals it's a shame that there's not sometimes an option for NT productions that use the flexible and more intimate space of the Dorfman rather than having to be on a scale that fits the Lyttelton or Olivier.
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Post by Mark on Jun 16, 2023 9:06:52 GMT
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.
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Post by londonpostie on Jun 16, 2023 10:13:30 GMT
I mentioned in a deleted post that this can't be a normal season of work, mostly lockdown related. The NT is a co-producer, it has in-house associates, it has to take windows of opportunity with headliners who have comittments elsewhere - an awful lot got backed up and there are an awful lot of organisations and individuals who are invested, financially and career-wise, in their relationships with the NT.
Take Alexander Zeldin - NT Associate; has to get stuff out there or what's the point of working with the NT. Annie Baker -NT obv. made a commitment with a future piece of work and has to put it out ASAP. Promises to new writers. Co-producers the same, and on it goes. Endlessly. Balancing acts, plate spinning, shuffling, assuaging.
Imagine all the stuff - so much - that didn't make it into this season. Maybe the old chestnuts can wait a while in these unique circs.
And it's no different out here in the real world; potholes didn't just appear, lifts/escalators break down because the routine maintenance schedules went to sh!t, operations (excess deaths are extraordinary). Despite being back at work - apart from the magic money tree early retirees, the entire society is a very long way from being normalised; self-employed artists are still paying the price of that.
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Post by profquatermass on Jun 16, 2023 10:22:44 GMT
I was surprised to learn that Dear Octopus hasn't been revived in 57 years. Potentially an interesting rediscovery - fascinating to read about the opening production on Wikipedia. Gielgud in the original cast. Leslie Philips talks a lot about the first production in his autobiography. He and, IIRC Muriel Pavlow, were the two children
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Post by Jon on Jun 16, 2023 11:49:02 GMT
I mentioned in a deleted post that this can't be a normal season of work, mostly lockdown related. The NT is a co-producer, it has in-house associates, it has to take windows of opportunity with headliners who have comittments elsewhere - an awful lot got backed up and there are an awful lot of organisations and individuals who are invested, financially and career-wise, in their relationships with the NT. Take Alexander Zeldin - NT Associate; has to get stuff out there or what's the point of working with the NT. Annie Baker -NT obv. made a commitment with a future piece of work and has to put it out ASAP. Promises to new writers. Co-producers the same, and on it goes. Endlessly. Balancing acts, plate spinning, shuffling, assuaging. Imagine all the stuff - so much - that didn't make it into this season. Maybe the old chestnuts can wait a while in these unique circs. And it's no different out here in the real world; potholes didn't just appear, lifts/escalators break down because the routine maintenance schedules went to sh!t, operations (excess deaths are extraordinary). Despite being back at work - apart from the magic money tree early retirees, the entire society is a very long way from being normalised; self-employed artists are still paying the price of that. Looking at the theatrical landscape, there are plenty of revivals being done so actually the National focusing on mostly new work for a season isn't a big deal. It's not to say that I'm against revivals, I'm quite excited for Plaza Suite next year just because Neil Simon's work isn't done as often in the UK and even Stoppard's later plays like The Invention of Love and The Coast of Utopia have not received revivals yet, the latter I suspect is probably too expensive to do.
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Post by lynette on Jun 16, 2023 12:55:05 GMT
Is this where we are discussing the next AD of the NT? Please direct me, ta
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Post by zahidf on Jun 16, 2023 12:57:26 GMT
Rufus Stepping down Spring 2025. New person in place end of the year Baz says they are a few candidates
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Post by Jan on Jun 16, 2023 14:16:03 GMT
I mentioned in a deleted post that this can't be a normal season of work, mostly lockdown related. The NT is a co-producer, it has in-house associates, it has to take windows of opportunity with headliners who have comittments elsewhere - an awful lot got backed up and there are an awful lot of organisations and individuals who are invested, financially and career-wise, in their relationships with the NT. Take Alexander Zeldin - NT Associate; has to get stuff out there or what's the point of working with the NT. Annie Baker -NT obv. made a commitment with a future piece of work and has to put it out ASAP. Promises to new writers. Co-producers the same, and on it goes. Endlessly. Balancing acts, plate spinning, shuffling, assuaging. Imagine all the stuff - so much - that didn't make it into this season. Maybe the old chestnuts can wait a while in these unique circs. And it's no different out here in the real world; potholes didn't just appear, lifts/escalators break down because the routine maintenance schedules went to sh!t, operations (excess deaths are extraordinary). Despite being back at work - apart from the magic money tree early retirees, the entire society is a very long way from being normalised; self-employed artists are still paying the price of that. 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.
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Post by londonpostie on Jun 16, 2023 14:24:32 GMT
Maybe it was policy choice before whereas, now, it's necessary.
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