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Post by Deleted on Sept 7, 2019 16:33:19 GMT
Particularly ironic as the RSC did the thing about Joan Littlewood that wasn’t done at Stratford East!
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Post by lynette on Sept 7, 2019 16:55:42 GMT
Sort of RSC related but did anyone see the interview with Carrie Preston in the Stage re her directing a new play called "Buzz" about Buzz Goodbody? Somewhat bizarrely its premiering at the Alabama Shakespeare Festival! Doesn't sound as if the RSC has any involvement, seems odd to me as she is such a revered figure there even 40 odd years after her premature death. Needs someone to come up with an idea. I saw a couple of Buzz's productions. They were very good. Her death was very tragic and the grief is still raw at RSC I think. |
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Post by learfan on Sept 7, 2019 18:22:53 GMT
Sort of RSC related but did anyone see the interview with Carrie Preston in the Stage re her directing a new play called "Buzz" about Buzz Goodbody? Somewhat bizarrely its premiering at the Alabama Shakespeare Festival! Doesn't sound as if the RSC has any involvement, seems odd to me as she is such a revered figure there even 40 odd years after her premature death. Needs someone to come up with an idea. I saw a couple of Buzz's productions. They were very good. Her death was very tragic and the grief is still raw at RSC I think. Exactly L, thats why when i read the article and subsequently went on the Alabama Shakespeare site, there was no mention of the RSC. Wonder if they are even aware of the play? |
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Post by Jan on Sept 9, 2019 8:12:08 GMT
Needs someone to come up with an idea. I saw a couple of Buzz's productions. They were very good. Her death was very tragic and the grief is still raw at RSC I think. Exactly L, thats why when i read the article and subsequently went on the Alabama Shakespeare site, there was no mention of the RSC. Wonder if they are even aware of the play? For a play like this which will contain characters who are living people (Ben Kingsley for example) and will reference actual RSC productions I wonder if they require formal approval from the RSC ? Probably not but it is very unlikely they did not informally contact them in advance, and of course her family. |
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Post by learfan on Sept 9, 2019 11:26:47 GMT
The ASF site makes no mention at all of the RSC, there is a production photo of Kingsley in Hamlet and a shot of the other place in the 70s but thats it. The cast list doesnt seem to reference real people either. All odd, i wonder if the RSC arent cooperating?
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Post by cirque on Sept 9, 2019 12:02:18 GMT
RSC have just said they work with the most innovative directors
name them for me...
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Post by Jan on Sept 9, 2019 13:27:50 GMT
RSC have just said they work with the most innovative directors name them for me... They’d say Maria Aberg. Here’s how they’re promoting the Winter production of King John on their website. “Please be aware that this production contains a food fight onstage and you may not escape if you are sat on the front rows ! “ That final exclamation mark is just pathetic. |
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Post by cirque on Sept 9, 2019 15:28:16 GMT
fully agree about food/front rows.....what on earth....?
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Post by lynette on Sept 9, 2019 20:24:12 GMT
RSC have just said they work with the most innovative directors name them for me... They’d say Maria Aberg. Here’s how they’re promoting the Winter production of King John on their website. “Please be aware that this production contains a food fight onstage and you may not escape if you are sat on the front rows ! “ That final exclamation mark is just pathetic. I know Doc you post these comments just to provoke me! Mentioning my favourite director and another King John is sheer provocation. 😳 and then food fight. OMG. I’ve booked for this show of course, as I squally see all the RSC prods so thanks for letting me know all and I’ll be necking the Prosecco before this one |
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Post by NeilVHughes on Sept 9, 2019 20:28:53 GMT
Maybe they have a dry cleaning deal with a local launderette, believe people are still trying to get the blood off their clothes from the recent Tamburlaine.
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Post by lynette on Sept 9, 2019 20:31:36 GMT
Never sit in the front row anywhere from choice. At the main RSC it is in my opinion the worst place in the theatre. Not much better in the Swan. You are cramped into a narrow space and have to look at the actors' shoes most of the time.
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Post by David J on Sept 9, 2019 21:06:21 GMT
Never sit in the front row anywhere from choice. At the main RSC it is in my opinion the worst place in the theatre. Not much better in the Swan. You are cramped into a narrow space and have to look at the actors' shoes most of the time. Not a lot of fun in the raised back benches of the swan galleries either. The way they are designed means the front edge can dig into your hamstrings. Better if you’re up in the upper gallery where you’ll just be leaning forward anyway to see the whole stage. Not so much in the first gallery to my mums detriment recently, who had to stand up before the interval from terrible cramp I still remember sitting in the splash zone for David Farr’s Twelfth Night |
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Post by theatremad on Sept 9, 2019 22:17:11 GMT
Never sit in the front row anywhere from choice. At the main RSC it is in my opinion the worst place in the theatre. Not much better in the Swan. You are cramped into a narrow space and have to look at the actors' shoes most of the time. Not a lot of fun in the raised back benches of the swan galleries either. The way they are designed means the front edge can dig into your hamstrings. Better if you’re up in the upper gallery where you’ll just be leaning forward anyway to see the whole stage. Not so much in the first gallery to my mums detriment recently, who had to stand up before the interval from terrible cramp I still remember sitting in the splash zone for David Farr’s Twelfth Night I'm the opposite. The upper gallety back benches are great. I always go for Gallery 2 row b dead centre on an aisle seat. I can sit or stretch my legs and stand |
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Post by David J on Sept 10, 2019 6:12:43 GMT
Not a lot of fun in the raised back benches of the swan galleries either. The way they are designed means the front edge can dig into your hamstrings. Better if you’re up in the upper gallery where you’ll just be leaning forward anyway to see the whole stage. Not so much in the first gallery to my mums detriment recently, who had to stand up before the interval from terrible cramp I still remember sitting in the splash zone for David Farr’s Twelfth Night I'm the opposite. The upper gallety back benches are great. I always go for Gallery 2 row b dead centre on an aisle seat. I can sit or stretch my legs and stand Exactly |
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Post by Jan on Sept 10, 2019 6:45:12 GMT
They’d say Maria Aberg. Here’s how they’re promoting the Winter production of King John on their website. “Please be aware that this production contains a food fight onstage and you may not escape if you are sat on the front rows ! “ That final exclamation mark is just pathetic. I know Doc you post these comments just to provoke me! Mentioning my favourite director and another King John is sheer provocation. 😳 and then food fight. OMG. I’ve booked for this show of course, as I squally see all the RSC prods so thanks for letting me know all and I’ll be necking the Prosecco before this one Yes, well I saw that Maria Aberg "King John" too so I share your pain. Pre-announcing this food fight surely detracts from any dramatic impact it might have - it is a big spoiler in their own advertising material. Punters taking their 6 year-olds to King John based on the description may find themselves a bit puzzled by the rest of the plot. |
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Post by David J on Sept 10, 2019 7:12:20 GMT
RSC have just said they work with the most innovative directors name them for me... They’d say Maria Aberg. Here’s how they’re promoting the Winter production of King John on their website. “Please be aware that this production contains a food fight onstage and you may not escape if you are sat on the front rows ! “ That final exclamation mark is just pathetic.  As for Maria Aberg, she did direct the best As You Like It I've seen but I do wonder if she was told to restrain her "stylistic" choices |
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Post by cirque on Sept 10, 2019 8:06:31 GMT
they have truly lost the plot.....
in a dream scenario Goold would have revolutionised the place......no hope now-will descend into provincial house and would not surprise me in a few years to be a receiving house with reduced shakespeare season.
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Post by Jan on Sept 10, 2019 12:21:36 GMT
they have truly lost the plot..... in a dream scenario Goold would have revolutionised the place......no hope now-will descend into provincial house and would not surprise me in a few years to be a receiving house with reduced shakespeare season. It's already a provincial house. Their few London transfers are mostly papered to within an inch of their lives. |
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Post by cirque on Sept 10, 2019 12:42:25 GMT
thats very sad. i do believe it.
is there no hope,i wonder to redevelop this into a front line company......
victims of dumbing classical texts to lowest levels,employing on whole,sub league actors and directors.
the rsc inspired me. thats why it is a personal issue now as i feel their arrogance has led to the situation.
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Post by lynette on Sept 10, 2019 14:07:07 GMT
You two, doom and gloom merchants! And since when did ‘provincial’ become a detrimental term of such contempt for theatre? Manners, modes of speech and dress yes, of course [ I’m joking...a bit..] but I think there is a place for a Shakespeare theatre in the Midlands where people actually live and work. [can afford to live I should have said]
Being a company has always been a problem because of actors who need to live elsewhere and can’t commit to a full season but you can’t deny the acting is classy as is all the rest of the stuff. I think there have been some crackin’ shows even in living memory. I’m not gonna make a list mainly because my memory doesn’t work that way, or doesn’t work, but Tennant’s Hamlet, The Chinese stuff, the recent Swan stuff and Love’s Labours Lost just pop out as pretty good. Plus the Histories, Slinger’s Macbeth...oh loads of ‘em are good. Before the cuts they also did good new work which they still try to do, one of which is the play transferring to the Arcola about the imprisoned journalist which I urge everyone to see. Harder to do now but still, two new works coming on this winter. I don’t see dumbing down. The Merry Wives of Windsor was the best update I’ve ever seen of this play and every joke came through loud and clear - that’s not dumbing down , that’s continuing the tradition.
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Post by Jan on Sept 10, 2019 15:10:36 GMT
You two, doom and gloom merchants! And since when did ‘provincial’ become a detrimental term of such contempt for theatre? Manners, modes of speech and dress yes, of course [ I’m joking...a bit..] but I think there is a place for a Shakespeare theatre in the Midlands where people actually live and work. [can afford to live I should have said] Being a company has always been a problem because of actors who need to live elsewhere and can’t commit to a full season but you can’t deny the acting is classy as is all the rest of the stuff. I think there have been some crackin’ shows even in living memory. I’m not gonna make a list mainly because my memory doesn’t work that way, or doesn’t work, but Tennant’s Hamlet, The Chinese stuff, the recent Swan stuff and Love’s Labours Lost just pop out as pretty good. Plus the Histories, Slinger’s Macbeth...oh loads of ‘em are good. Before the cuts they also did good new work which they still try to do, one of which is the play transferring to the Arcola about the imprisoned journalist which I urge everyone to see. Harder to do now but still, two new works coming on this winter. I don’t see dumbing down. The Merry Wives of Windsor was the best update I’ve ever seen of this play and every joke came through loud and clear - that’s not dumbing down , that’s continuing the tradition. I didn’t laugh once in Merry Wives and very few in the London audience did. I’m not using “provincial” as a pejorative term, simply saying they are becoming like, say, Manchester Royal Exchange, essentially a regional company. Not that many of the productions you mention played anywhere other than Stratford. This is a big problem because their grant is based on the fact they’re supposed to be a national company with a London base in addition to Stratford. |
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Post by learfan on Sept 10, 2019 16:15:18 GMT
You two, doom and gloom merchants! And since when did ‘provincial’ become a detrimental term of such contempt for theatre? Manners, modes of speech and dress yes, of course [ I’m joking...a bit..] but I think there is a place for a Shakespeare theatre in the Midlands where people actually live and work. [can afford to live I should have said] Being a company has always been a problem because of actors who need to live elsewhere and can’t commit to a full season but you can’t deny the acting is classy as is all the rest of the stuff. I think there have been some crackin’ shows even in living memory. I’m not gonna make a list mainly because my memory doesn’t work that way, or doesn’t work, but Tennant’s Hamlet, The Chinese stuff, the recent Swan stuff and Love’s Labours Lost just pop out as pretty good. Plus the Histories, Slinger’s Macbeth...oh loads of ‘em are good. Before the cuts they also did good new work which they still try to do, one of which is the play transferring to the Arcola about the imprisoned journalist which I urge everyone to see. Harder to do now but still, two new works coming on this winter. I don’t see dumbing down. The Merry Wives of Windsor was the best update I’ve ever seen of this play and every joke came through loud and clear - that’s not dumbing down , that’s continuing the tradition. I didn’t laugh once in Merry Wives and very few in the London audience did. I’m not using “provincial” as a pejorative term, simply saying they are becoming like, say, Manchester Royal Exchange, essentially a regional company. Not that many of the productions you mention played anywhere other than Stratford. This is a big problem because their grant is based on the fact they’re supposed to be a national company with a London base in addition to Stratford. Says who? |
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Post by learfan on Sept 10, 2019 16:16:09 GMT
You two, doom and gloom merchants! And since when did ‘provincial’ become a detrimental term of such contempt for theatre? Manners, modes of speech and dress yes, of course [ I’m joking...a bit..] but I think there is a place for a Shakespeare theatre in the Midlands where people actually live and work. [can afford to live I should have said] Being a company has always been a problem because of actors who need to live elsewhere and can’t commit to a full season but you can’t deny the acting is classy as is all the rest of the stuff. I think there have been some crackin’ shows even in living memory. I’m not gonna make a list mainly because my memory doesn’t work that way, or doesn’t work, but Tennant’s Hamlet, The Chinese stuff, the recent Swan stuff and Love’s Labours Lost just pop out as pretty good. Plus the Histories, Slinger’s Macbeth...oh loads of ‘em are good. Before the cuts they also did good new work which they still try to do, one of which is the play transferring to the Arcola about the imprisoned journalist which I urge everyone to see. Harder to do now but still, two new works coming on this winter. I don’t see dumbing down. The Merry Wives of Windsor was the best update I’ve ever seen of this play and every joke came through loud and clear - that’s not dumbing down , that’s continuing the tradition. Hear hear! Lynette. |
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Post by Jan on Sept 10, 2019 16:34:50 GMT
I didn’t laugh once in Merry Wives and very few in the London audience did. I’m not using “provincial” as a pejorative term, simply saying they are becoming like, say, Manchester Royal Exchange, essentially a regional company. Not that many of the productions you mention played anywhere other than Stratford. This is a big problem because their grant is based on the fact they’re supposed to be a national company with a London base in addition to Stratford. Says who? Arts Council England. |
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Post by NeilVHughes on Sept 10, 2019 16:57:03 GMT
Saw MWW in the RST and laughed all the way through, usually a play I find difficult to like as per this year’s Globe Production.
The RSC can be hit and miss as can all Theatres, on the whole always enjoy my trips to Stratford Upon Avon, usually do 3 play weekends and there is always something that appeals and one of this year’s theatrical highlights was Kunene and the King which deserved(s) a West End transfer.
Rarely do the Barbican transfers but the Henriad weekend a few year’s ago was amazing.
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