|
|
Post by Jan on Mar 31, 2023 20:24:02 GMT
I don't think anyone is 'gagging for another RSC flop', or 'hates' Erica Whyman, or is 'bitter' about Hamnet selling well. You are making this about the pettiness and meanness of people posting anything critical of EW. Can you really not see any legitimate reasons to be concerned about the current direction of the RSC? Can I turn it around and ask you what you think the RSC's priorities should be? What should they be doing to justify the 15 million grant and £19 million recovery loan? Do you feel that having one theatre open in Stratford has been enough? Are you happy with the quality of recent productions and casts? Do you think it's OK to stop putting on plays by Shakespeare's contemporaries? I am happy to say that I enjoyed the recent Richard III, I'm looking forward to Hamnet and I wish I'd been able to go to The Tempest. But it's still not even close to the company it was 10+ years ago. It ultimately doesn't matter what Whyman does now because there is a new regime coming in soon who will make changes. The RSC is a mixed bag but they'd have success recently, it's not been all failures and I think personally that the RSC should have new writing along with the classics, the likes of Les Miserables, Matilda, Nicholas Nicklebly etc wouldn't have happened if the RSC had stuck with just being about the classics and I've enjoyed the new work that has come from the RSC more than the classics which probably makes me a heretic in some people's eyes but so be it. No Theatre organisation is perfect and I think we need to perhaps stop with the pile ons, you're allowed to dislike the decision but don't be personal about the person behind the decision by suggesting she should driven out of town. You are relying on straw man arguments. No one at all has said that the RSC shouldn’t do new plays so no one at all is calling you a heretic. What is unarguable is that the contemporary new plays the RSC did under all the ADs prior to Doran were more significant and successful than what Doran and EW have come up with. The fact they closed The Other Place shows their commitment to new writing. |
|
|
|
Post by Jan on Mar 31, 2023 20:29:39 GMT
Toroto was such a hit that it didn’t transfer to the West End, or anywhere else, and is only getting a revival because the RSC are using their next Barbican season to revive it when they should be using it for their core repertoire. Matilda and Les Miserables it ain’t - no West End transfer, no Broadway transfer. Why not ? I'm sure the Barbican are thrilled that the RSC are bringing back Totoro, it was a sellout last time, better to have a surefire hit than an half empty theatre. Totoro didn't transfer because it's a big production, there are not many places where it could transfer to. The National brought back War Horse after its first run before its West End run so I have no qualms about them doing that. You are bitter because it was a success. ”Better to have a sure fire hit than a half empty theatre”. No. Absolutely not. If you believe that then there’s no point having a subsidised theatre at all. “Toroto didn’t transfer because it’s a big production”. I guess that’s why Les Miserables didn’t transfer either. |
|
|
|
Post by c4ndyc4ne on Mar 31, 2023 20:49:11 GMT
Toroto was such a hit that it didn’t transfer to the West End, or anywhere else, and is only getting a revival because the RSC are using their next Barbican season to revive it when they should be using it for their core repertoire. Matilda and Les Miserables it ain’t - no West End transfer, no Broadway transfer. Why not ? I'm sure the Barbican are thrilled that the RSC are bringing back Totoro, it was a sellout last time, better to have a surefire hit than an half empty theatre. Totoro didn't transfer because it's a big production, there are not many places where it could transfer to. The National brought back War Horse after its first run before its West End run so I have no qualms about them doing that. You are bitter because it was a success. Exactly... Totoro will need a big production to vacate their West End spot before they can come in. Also it will probably head over to Broadway in due course... once the time and money is there. The odd emphasis on EW's tenure is odd... she was placed in an exceptional position by GD's personal circumstances, and her vision is as much his as anyone else's. I expect we'll get a very different flavour RSC by the end of 2024. |
|
7,060 posts
Member is Online
|
Post by Jon on Mar 31, 2023 20:51:44 GMT
”Better to have a sure fire hit than a half empty theatre”. No. Absolutely not. If you believe that then there’s no point having a subsidised theatre at all. “Toroto didn’t transfer because it’s a big production”. I guess that’s why Les Miserables didn’t transfer either. Stop making out that Totoro was a failure, it just makes you look foolish and you didn't see the production anyway so you don't know what the scale of it was. |
|
353 posts
|
Post by cirque on Apr 7, 2023 12:08:05 GMT
RSC have run out of tick boxes......so they have to invent more.
When a global theatre becomes obsessed like RSC has become it loses sight as to what it could be.
Yes-new plays exploring many themes,classical rethinks,superb acting,groundbreaking insight into Shakespeare-these should return as prime focus.
The Board appointed two new AD's...why/..? They too must realise the disaster RSC has become and through the appointments seek to return the company to greatness.
Both GD and EW cannot expect glorification from audiences and supporters after their tenure.
Quite frankly-look at Swan programme after Hamnet...is that line up really going going to bring audiences in.
If I am wrong in any way...huge apologies.
Personally I am sure EW will have a lively freelance future and GD become a relective theatre voice.
Here's to RSC Futures.
|
|
|
|
Post by Jan on Apr 7, 2023 13:25:09 GMT
”Better to have a sure fire hit than a half empty theatre”. No. Absolutely not. If you believe that then there’s no point having a subsidised theatre at all. “Toroto didn’t transfer because it’s a big production”. I guess that’s why Les Miserables didn’t transfer either. Stop making out that Totoro was a failure, it just makes you look foolish and you didn't see the production anyway so you don't know what the scale of it was. It plainly wasn't a failure, and I haven't made it out to be (another of your straw man arguments) but it wasn't a big success in the way Les Mis and Matilda were. That's all. I also object to them using their entire 2023-24 Barbican residency, along with their subsidy, to revive it apparently because no commercial theatre either in the West End or on Broadway or anywhere else want it. Like Hamnet this production had commercial producers attached so it should be up to them to organise and pay for unsubsidised revivals. It is also not acceptable for them to not have had a single Shakespeare production in London for a period of three years and counting (assuming they bring one in Winter 2024). #DefundTheRSC |
|
|
|
Post by c4ndyc4ne on Apr 7, 2023 21:08:45 GMT
Stop making out that Totoro was a failure, it just makes you look foolish and you didn't see the production anyway so you don't know what the scale of it was. It plainly wasn't a failure, and I haven't made it out to be (another of your straw man arguments) but it wasn't a big success in the way Les Mis and Matilda were. That's all. I also object to them using their entire 2023-24 Barbican residency, along with their subsidy, to revive it apparently because no commercial theatre either in the West End or on Broadway or anywhere else want it. Like Hamnet this production had commercial producers attached so it should be up to them to organise and pay for unsubsidised revivals. It is also not acceptable for them to not have had a single Shakespeare production in London for a period of three years and counting (assuming they bring one in Winter 2024). #DefundTheRSC 'it wasn't a big success in the way Les Mis and Matilda were.' Feels like an odd one to compare seeing as a) those are musicals and b) they're a lot further through their respective lifespans. Six Olivier Awards, the most of any show this year, is pretty wild a success for the RSC and capitalising on it is a pretty natural thing to do. "It is also not acceptable for them to not have had a single Shakespeare production in London" – is London meant to be the ultimate end-point for RSC shows? They are touring Julius Caesar and will likely do more with other shows in 2024. Plus Hamnet is a play about Shakespeare, even if it isn't a Shakespeare play. So feel like all these bees (or not to bees) are unnecessarily in the bonnet. |
|
7,060 posts
Member is Online
|
Post by Jon on Apr 7, 2023 21:17:19 GMT
It plainly wasn't a failure, and I haven't made it out to be (another of your straw man arguments) but it wasn't a big success in the way Les Mis and Matilda were. That's all. I also object to them using their entire 2023-24 Barbican residency, along with their subsidy, to revive it apparently because no commercial theatre either in the West End or on Broadway or anywhere else want it. Like Hamnet this production had commercial producers attached so it should be up to them to organise and pay for unsubsidised revivals. It is also not acceptable for them to not have had a single Shakespeare production in London for a period of three years and counting (assuming they bring one in Winter 2024). #DefundTheRSC 'it wasn't a big success in the way Les Mis and Matilda were.' Feels like an odd one to compare seeing as a) those are musicals and b) they're a lot further through their respective lifespans. Six Olivier Awards, the most of any show this year, is pretty wild a success for the RSC and capitalising on it is a pretty natural thing to do. "It is also not acceptable for them to not have had a single Shakespeare production in London" – is London meant to be the ultimate end-point for RSC shows? They are touring Julius Caesar and will likely do more with other shows in 2024. Plus Hamnet is a play about Shakespeare, even if it isn't a Shakespeare play. So feel like all these bees (or not to bees) are unnecessarily in the bonnet. It's honestly pointless debating Jan, cirque and the usual suspects. You try pointing out the RSC's successes and they shoot them down or ignore them. I imagine theatre owners want Totoro but there isn't a suitable venue available at the moment. |
|
|
|
Post by Jan on Apr 8, 2023 3:32:30 GMT
I imagine theatre owners want Totoro but there isn't a suitable venue available at the moment. OK let me try to debate you. I imagine they don't want it and there are suitable venues. The RSC should do their core Shakespeare repertoire in London because that's the basis on which their grant has been set for decades - the conditions specifically mention London. I'm not calling for any other regional theatres to transfer productions to London. |
|
|
|
Post by cavocado on Apr 8, 2023 10:20:44 GMT
I'm not sure the Barbican is a good venue for the RSC in London now. Far too big. Comedy of Errors was a decent production but had to be heavily discounted and I think it closed early? Unless it's a big name star, what Shakespeare is going to fill a theatre like that? Do they have a contract to use the Barbican?
It's good that Totoro did well and presumably made them money if it's returning, but it's not a show that shouts 'RSC' is it? They should have some of their core output on in London on a regular basis.
It would be nice to see them do a residency in a smaller London theatre. Maybe they could do a deal with Hampstead for 3 months a year, if that stage is suitable, or the new Bridge Kings Cross venue? The delays to that venue suggest they weren't anticipating the post-covid economic climate (who was?) so perhaps it would work for them to have a visiting company for part of the year. There must be other London theatres which would welcome the financial buffer of having a large subsidised company in residence for some of the year.
As Jan says, they are not funded to be a 2 theatre regional company. They get a smiliar level of subsidy to the NT, because they're a national company with an international reputation, and should at least have fully opened Stratford, tours and a London presence. The NT has its critics (including me sometimes) but look at the number of productions it's done in the last year, plus West End, co-productions, international tours, etc and compare to the RSC.
|
|
|
|
Post by oxfordsimon on Apr 13, 2023 9:25:41 GMT
Reviews are coming in for Hamnet. Stage, Times and Telegraph all give it 3 stars
So yes, it is selling well. But it isn't blowing critics away.
Shows don't need 5 stars to be deemed a success. And this will sell ok in London
But it isn't what I would term a hit in all respects.
|
|
7,060 posts
Member is Online
|
Post by Jon on Apr 13, 2023 13:22:23 GMT
Reviews are coming in for Hamnet. Stage, Times and Telegraph all give it 3 stars So yes, it is selling well. But it isn't blowing critics away. Shows don't need 5 stars to be deemed a success. And this will sell ok in London But it isn't what I would term a hit in all respects. Les Miserables got panned back in the day but yet is still running today and that is considered a hit, likewise with Wicked which got mixed reviews. Typical goal post moving from the anti RSC brigade that anything less than a rave is deemed a failure. |
|
2,481 posts
|
Post by zahidf on Apr 13, 2023 13:42:30 GMT
Reviews are coming in for Hamnet. Stage, Times and Telegraph all give it 3 stars So yes, it is selling well. But it isn't blowing critics away. Shows don't need 5 stars to be deemed a success. And this will sell ok in London But it isn't what I would term a hit in all respects. Lets see how the london sales go, but its a big literary hit, and i imagine critical proof to an extent. 3 stars is fine for the audience whod like to go |
|
|
|
Post by londonpostie on Apr 13, 2023 14:47:10 GMT
£30 is too much for the cheapest seats. Especially with ACE funding - this is the highest starting price I have seen, and that includes the Pinter theatre (who aren't afraid of a pound note). Fwiw, I suspect early-bird theatre regulars (such as moi!) contribute disproportionately to word-of-mouth so this might get off to a slower start. Of course, it can pick up .. Don't like this price modelling. Not the right organisation to be setting precedents like this. Tone def. Not reading the room. Etc. Maybe if the RSC had a brilliant reputation .. but it doesn't. At all. Amateur-level behaviour.
/andbreathe
|
|
|
|
Post by Jan on Apr 13, 2023 15:02:46 GMT
Typical goal post moving from the anti RSC brigade that anything less than a rave is deemed a failure. You told us this play was a smash hit even before it opened, so anything less than a rave is deemed a smash hit ? - it should be but then so should have been The Mirror and the Light and they managed to fumble that. If I was to draw up a list of directors for Hamnet EW wouldn't be in the top 20 but of course since she and Doran destroyed the RSC company structure there was no other in-house candidate available to direct it (apart from Doran who actually would have been better). Really the way those two froze out all the competition was a disgrace, there are many examples of good directors who were attached to the company for a while but had to go elsewhere to get something to direct, Justin Audibert is one. |
|
|
|
Post by Jan on Apr 13, 2023 15:13:13 GMT
£30 is too much for the cheapest seats. Especially with ACE funding - this is the highest starting price I have seen, and that includes the Pinter theatre (who aren't afraid of a pound note). Fwiw, I suspect early-bird theatre regulars (such as moi!) contribute disproportionately to word-of-mouth so this might get off to a slower start. Of course, it can pick up .. Don't like this price modelling. Not the right organisation to be setting precedents like this. Tone def. Not reading the room. Etc. Maybe if the RSC had a brilliant reputation .. but it doesn't. At all. Amateur-level behaviour.
/andbreathe
The Pinter have shown that this pricing regime works - draw in the tourists and enthusiasts at full price and then dump the rest of the tickets on TodayTix and elsewhere at low prices. I've literally never failed to get a stalls ticket at the Pinter for anything I wanted to see for £20-£30. As they are a commercial theatre that's fair enough if it works for them, agree it is dubious for an ACE organisation. Still, cheaper than having to book a cruise on the Queen Mary 2 to see the RSC. |
|
|
|
Post by oxfordsimon on Apr 13, 2023 15:24:22 GMT
Reviews are coming in for Hamnet. Stage, Times and Telegraph all give it 3 stars So yes, it is selling well. But it isn't blowing critics away. Shows don't need 5 stars to be deemed a success. And this will sell ok in London But it isn't what I would term a hit in all respects. Les Miserables got panned back in the day but yet is still running today and that is considered a hit, likewise with Wicked which got mixed reviews. Typical goal post moving from the anti RSC brigade that anything less than a rave is deemed a failure. Did I say it was a failure? No 3 star reviews are not a sign of a hit. But at no point did I describe it as a failure. I have been perfectly consistent in my approach to this. |
|
7,060 posts
Member is Online
|
Post by Jon on Apr 13, 2023 15:36:48 GMT
Did I say it was a failure? No 3 star reviews are not a sign of a hit. But at no point did I describe it as a failure. I have been perfectly consistent in my approach to this. A hit and a success are the same thing. It's kind of sad that Hamnet is a success but yet we have people claiming it's not. Likewise with My Neighbour Totoro. |
|
|
|
Post by oxfordsimon on Apr 13, 2023 15:42:49 GMT
Did I say it was a failure? No 3 star reviews are not a sign of a hit. But at no point did I describe it as a failure. I have been perfectly consistent in my approach to this. A hit and a success are the same thing. It's kind of sad that Hamnet is a success but yet we have people claiming it's not. Likewise with My Neighbour Totoro. I made no such claims about Totoro. I have been consistent in wanting the RSC to generate income from productions. I have been consistent in not playing semantic games. |
|
|
|
Post by londonpostie on Apr 13, 2023 16:30:04 GMT
£30 is too much for the cheapest seats. Especially with ACE funding - this is the highest starting price I have seen, and that includes the Pinter theatre (who aren't afraid of a pound note). Fwiw, I suspect early-bird theatre regulars (such as moi!) contribute disproportionately to word-of-mouth so this might get off to a slower start. Of course, it can pick up .. Don't like this price modelling. Not the right organisation to be setting precedents like this. Tone def. Not reading the room. Etc. Maybe if the RSC had a brilliant reputation .. but it doesn't. At all. Amateur-level behaviour.
/andbreathe
The Pinter have shown that this pricing regime works - draw in the tourists and enthusiasts at full price and then dump the rest of the tickets on TodayTix and elsewhere at low prices. I've literally never failed to get a stalls ticket at the Pinter for anything I wanted to see for £20-£30. As they are a commercial theatre that's fair enough if it works for them, agree it is dubious for an ACE organisation. Still, cheaper than having to book a cruise on the Queen Mary 2 to see the RSC.
Never not seen £15 + booking fee at the Pinter. Got to be early, but its there.
It does go off the scale at some point, presumably dynamic pricing is programmed to kick in soon after (from the low starting point)
|
|
|
|
Post by Jan on Apr 14, 2023 10:46:41 GMT
I was intrigued by the pre-publicity for the forthcoming RSC "As You Like It" which was along the lines "a company of veteran RSC actors perform one of Shakespeare’s most joyous tales". It implied it would be framed as a group of old actors from a previous production reassembling and remembering that production. I like these sort of meta-theatrical framing devices. However now I read that Rosalind will be played by Geraldine James (72) who has never performed with the RSC before. Why is that ? Couldn't they find a single former-RSC actress who could have done it ?
|
|
|
|
Post by asps2017 on Apr 17, 2023 19:31:45 GMT
What will the Christmas production be in Stratford?
|
|
|
|
Post by oxfordsimon on Apr 17, 2023 20:41:49 GMT
What will the Christmas production be in Stratford? By law don't all theatres have to revive a production of Christmas Carol now? |
|
|
|
Post by asps2017 on Apr 17, 2023 20:49:04 GMT
What will the Christmas production be in Stratford? By law don't all theatres have to revive a production of Christmas Carol now? The RSC normally put on something a bit different. The Magician’s elephant, Boy in the dress are recent productions that come to mind. Even Matilda was originally over Christmas in Stratford. |
|
|
|
Post by oxfordsimon on Apr 17, 2023 20:51:14 GMT
By law don't all theatres have to revive a production of Christmas Carol now? The RSC normally put on something a bit different. The Magician’s elephant, Boy in the dress are recent productions that come to mind. Even Matilda was originally over Christmas in Stratford. Well last year was at least the third time they staged this particular production of Christmas Carol... I hope for something different |
|
