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Post by ceebee on Nov 15, 2021 10:38:57 GMT
Taken from The Stage - the RSC needs overhauling or reclaiming, as current management are out of touch and out of ideas.
Article:
Royal Shakespeare Company executive director Catherine Mallyon has revealed it will take a “good few years” for the company to get all of its theatre spaces up and running, warning the sector as a whole is “not out of the woods yet”.
Mallyon also said the company will have to start repaying the £19.4 million it received from the government’s Culture Recovery Fund in four years’ time – at £1.5 million a year – which will also impact on its finances and mean it has to think about where it cuts back its operations.
Currently, the RSC is only operating the Royal Shakespeare Theatre, with the Swan and the Other Place remaining closed. During the closure of the Swan, the company is undertaking some essential capital works during 2022. A definitive reopening date for the venue has not been announced.
Speaking to The Stage as RSC musical Matilda marks 10 years in London, Mallyon said: “For the RSC, it is going to take us a good few years to get all the theatres back up and running. We have three or four big shows running at the moment, but we have other theatres to get reopened and that will take time, to get sufficient audience confidence for that and to generate sufficient incomes to build the company up and to do the wide range of work we were doing before.”
She added: “Thank goodness we got the loan [from the government] but in four years’ time we have to start paying back £1.5 million a year and that is money we would have spent on our charitable purposes, but has to go back to repaying the loan. That is the deal and we would not be here without it, but that is not immaterial factor going forward.”
Mallyon said the organisation was having to think about how it generates income to fund its “broader ambitions”.
“We have plans that theoretically do that for us and we must be confident about it, but the fragility of the system is quite obvious,” she said.
Mallyon also said the industry as a whole was still in a precarious position.
Reflecting on the past year, she said it had been an “extraordinarily difficult time”.
“Having to reduce the size of the company to manage new resources was the last thing anyone wanted to do. It was intense, difficult and in many ways a sad time. It has been tricky and now is not out of the woods, it really isn’t out of the woods,” she said.
Mallyon said the government’s live events insurance scheme was not giving “proper support” and it was “far from ideal”, as a “lot of risk is being run by the industry and not being underwritten in the way it would be ideally”.
She warned there was still “uncertainly in the system” and said the financial risks of the past 18 months would “live in people’s minds for a bit”.
Speaking about the imminent closure of The Mirror and the Light in London, she admitted the company had been “over optimistic in many ways”.
Mallyon said a “particular type of show is doing very well at the moment” – including musicals such as Matilda – but described the overall picture as patchy.
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Post by zahidf on Nov 15, 2021 10:45:56 GMT
I guess there are issues, but then other theatres ( like the Young and Old Vic) also seem to be having some problems and haven't announced a lot in advance
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Post by ceebee on Nov 15, 2021 10:51:50 GMT
I guess there are issues, but then other theatres ( like the Young and Old Vic) also seem to be having some problems and haven't announced a lot in advance I agree, though at least YV and OV hint at having ambitions. RSC seems to be throwing in the towel. They have a back-catalogue of archived recordings - monetising this would be a start. They need to be far more creative and commercial in their outlook. |
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Post by cavocado on Nov 15, 2021 10:59:51 GMT
Speaking about the imminent closure of The Mirror and the Light in London, she admitted the company had been “over optimistic in many ways”.
I think they are optimistic in the wrong ways, lacking optimism where it matters, and hugely arrogant in blaming the audience for not being ready. Audiences were certainly ready for the Almeida's Macbeth and the Young Vic's Hamlet. If the RSC attracted performers and directors who generate that kind of excitement, I think the audiences would follow.
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Post by Mark on Nov 15, 2021 11:07:05 GMT
Speaking about the imminent closure of The Mirror and the Light in London, she admitted the company had been “over optimistic in many ways”.I think they are optimistic in the wrong ways, lacking optimism where it matters, and hugely arrogant in blaming the audience for not being ready. Audiences were certainly ready for the Almeida's Macbeth and the Young Vic's Hamlet. If the RSC attracted performers and directors who generate that kind of excitement, I think the audiences would follow. Exactly this. It was a failure in choosing a production that people wanted to see (or atleast, at the capacity and prices of the Gielgud). |
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Post by alnoor on Nov 15, 2021 11:30:03 GMT
RSC becoming irrelevant
The above words are heartbreaking as I have seen some of THE most wonderful shows at the RSC
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Post by ceebee on Nov 15, 2021 11:39:51 GMT
Me too - Robert Stephen's brilliant "King Lear" seems a galaxy away from current offerings.
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Post by cavocado on Nov 15, 2021 11:51:36 GMT
Speaking about the imminent closure of The Mirror and the Light in London, she admitted the company had been “over optimistic in many ways”.I think they are optimistic in the wrong ways, lacking optimism where it matters, and hugely arrogant in blaming the audience for not being ready. Audiences were certainly ready for the Almeida's Macbeth and the Young Vic's Hamlet. If the RSC attracted performers and directors who generate that kind of excitement, I think the audiences would follow. Exactly this. It was a failure in choosing a production that people wanted to see (or atleast, at the capacity and prices of the Gielgud). Yes, Mirror and Light is a weirdly niche production. I imagine the majority of the audience have seen or read either the books, previous plays or TV adaptation, so that's a limited market. I've booked a cheap ticket for Much Ado, but not staying overnight - not much point when I can't see another show at the same time, but I would love to be able to do that again, and to feel excited about what they are doing. The RSC's recent track record also leads me to be worried about this line: " Mallyon said the organisation was having to think about how it generates income to fund its “broader ambitions”." I'd like to know what those 'broader ambitions' are if they don't even involve opening all the theatres anytime soon. |
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Post by ceebee on Nov 15, 2021 12:35:36 GMT
They have a very rich catalogue of archive shows. Opening it up on a membership basis would be a start. Or how about an exclusive tie-in to Netflix? Something to monetise what they have if they're unsure about how the future looks? If cashflow is the issue, they need to scale back, rebuild with a simpler operating model, and utilise the potential income streams that they have in order to survive and return to their former glory.
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Post by Jon on Nov 15, 2021 12:40:21 GMT
They have a very rich catalogue of archive shows. Opening it up on a membership basis would be a start. Or how about an exclusive tie-in to Netflix? Something to monetise what they have if they're unsure about how the future looks? If cashflow is the issue, they need to scale back, rebuild with a simpler operating model, and utilise the potential income streams that they have in order to survive and return to their former glory. Sadly, the only way they can rebuild is to let Greg Doran stand down permanently and let someone else take over. |
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Post by Jan on Nov 15, 2021 13:00:58 GMT
They have a very rich catalogue of archive shows. Opening it up on a membership basis would be a start. Or how about an exclusive tie-in to Netflix? Something to monetise what they have if they're unsure about how the future looks? If cashflow is the issue, they need to scale back, rebuild with a simpler operating model, and utilise the potential income streams that they have in order to survive and return to their former glory. Sadly, the only way they can rebuild is to let Greg Doran stand down permanently and let someone else take over. In that interview posted here a few days ago it seemed pretty clear Erica Whyman thinks she’s well placed to replace Doran long-term - that would be a disaster. I doubt they can monetise their archived performances online due to problems around fees for the actors and creatives. If she really thinks the problem is reluctant audiences then why on earth are they putting on Henry VI ? Why not Richard III with David Tennant or an equivalent star ? I’m far from a fan of Rufus Norris but surely the NT are handling this far better than the RSC - ramping up activities, getting their theatres open, announcing a forward programme and not moaning about audiences or money or the government at every available opportunity. |
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Post by David J on Nov 15, 2021 13:10:26 GMT
They have a very rich catalogue of archive shows. Opening it up on a membership basis would be a start. Or how about an exclusive tie-in to Netflix? Something to monetise what they have if they're unsure about how the future looks? If cashflow is the issue, they need to scale back, rebuild with a simpler operating model, and utilise the potential income streams that they have in order to survive and return to their former glory. I’ve seen many of those at the birthplace library. Most of those archive recordings are from one camera fitted to the circle. No close ups just tiny figures on a stage far away Not exactly ideal for Netflix. Don’t suppose the birthplace trust would have a say in the matter as well? The RSC would just offer their broadcast recordings (which theyve already done on other digital platforms like Digital Theatre) and whatever productions they have filmed in the past like the Mckellan/dench macbeth. |
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Post by Jon on Nov 15, 2021 13:33:10 GMT
The pandemic has really shown up the flaws in organisations like the RSC and their mindset.
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Post by cirque on Nov 15, 2021 14:22:25 GMT
Fully agree
My points
RSC has consciously changed into eduction and community centric organisation..hence Royal Shakespeare Community. See programmes.
Production severe decline owing to directors who are not in top league
Why no front line Director on international level comes to RSC
Loyal audience huge decline …..instigated by RSC….don’t believe me…ask a few questions of staff
Whyman seized the lead as Doran only interested in his own projects
Board should advertise and not gift it to Whyman
Lockdown disaster unless a needy teacher who relies on education department to formulate teaching plans
New season Henries. Community partnerships…not great hope.
RSC May moan but they are to blame for the decline over past years
Too many lectures for audiences at shows….not make up your mind…..it’s feel the shame you lot.
Solution. Closure. Reopen with new team,new key players in both artistic and admin.
Sound bitter…perhaps but I was passionate about RSC and as audience member…jilted.
Rescue is needed before sinking into Avon…..but even that better option than this terrible decline mixed with arrogance.
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Post by Jan on Nov 15, 2021 15:56:59 GMT
I can answer one of those questions. Why no top-line international directors at RSC ? Because they don’t invite any.
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Post by lynette on Nov 15, 2021 18:07:22 GMT
I believe the recordings were contracted to Marquee ( scuse spelling) so they couldn’t put them out easily in lockdown or ‘monetarise’ them now.
I’m just thinking that people rarely get life threatening illnesses overnight and that probably hospital procedures and treatments have been the stuff of the Doran household for some time. I know, other people manage to lead world ranking organisations in midst of such problems but….
They obviously had to go ahead with the Mirror/Light play as it was all set up. Other choices have puzzled me. The Boy in the Dress was old fashioned and weak; Much Ado was coming up and imo opinion would have been a better choice to push on with sooner than than a Henry of any flavour.
The RSC is a money pit.
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Post by anthony on Nov 15, 2021 19:03:04 GMT
I am honestly so excited for Much Ado. I don't like the sound of it being set in a futuristic world, but I'll take any version of Much Ado, actually.
To the person who said that they've turned too school focused, I disagree. As an English teacher, in terms of physical productions, they've went back a fair bit. They'd make a killing if they did with R&J and Macbeth what PW Productions do with An Inspector Calls. We've struggled to find high-quality productions of Macbeth and R&J this year (R&J at the Globe didn't fit timing wise in terms of when we teach it)
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Post by lynette on Nov 15, 2021 19:44:29 GMT
I am honestly so excited for Much Ado. I don't like the sound of it being set in a futuristic world, but I'll take any version of Much Ado, actually. To the person who said that they've turned too school focused, I disagree. As an English teacher, in terms of physical productions, they've went back a fair bit. They'd make a killing if they did with R&J and Macbeth what PW Productions do with An Inspector Calls. We've struggled to find high-quality productions of Macbeth and R&J this year (R&J at the Globe didn't fit timing wise in terms of when we teach it) RSC did a rubbish ‘version, cut down’ production of The Comedy of Errors a bit back.They would be better doing a proper, no gimmicks but follow the text version of pretty much anything on the school syllabus, GCSE or A level and marketing it for schools big time. |
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Post by Jan on Nov 15, 2021 20:39:18 GMT
I am honestly so excited for Much Ado. I don't like the sound of it being set in a futuristic world, but I'll take any version of Much Ado, actually. To the person who said that they've turned too school focused, I disagree. As an English teacher, in terms of physical productions, they've went back a fair bit. They'd make a killing if they did with R&J and Macbeth what PW Productions do with An Inspector Calls. We've struggled to find high-quality productions of Macbeth and R&J this year (R&J at the Globe didn't fit timing wise in terms of when we teach it) RSC did a rubbish ‘version, cut down’ production of The Comedy of Errors a bit back.They would be better doing a proper, no gimmicks but follow the text version of pretty much anything on the school syllabus, GCSE or A level and marketing it for schools big time. Macbeth has been on the syllabus for a decade hence the multiple productions of it we’ve seen. A business model of packing in school groups on cheap tickets to see the same few familiar plays year after year shouldn’t be one a massively subsidised company like the RSC should follow. I also don’t agree about no gimmicks follow the text productions - the Almeida Macbeth followed neither of those suggestions yet a GCSE and an A Level group both there when I saw it seemed to think it was great. |
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Post by Jon on Nov 15, 2021 21:04:27 GMT
Macbeth has been on the syllabus for a decade hence the multiple productions of it we’ve seen. A business model of packing in school groups on cheap tickets to see the same few familiar plays year after year shouldn’t be one a massively subsidised company like the RSC should follow. I also don’t agree about no gimmicks follow the text productions - the Almeida Macbeth followed neither of those suggestions yet a GCSE and an A Level group both there when I saw it seemed to think it was great. I agree, it wouldn't be sustainable in the long run just appealing to the school groups and just doing Shakespeare and Shakespeare alone. |
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Post by cavocado on Nov 16, 2021 10:33:32 GMT
I think they do separate tours to schools and small theatres. But, unlike the brilliant small scale tours they used to do with some big names involved, I think it's now part of their programme of developing teenage actors from diverse backgrounds and giving them opportunities. So again it's all about increasing participation, not about audience. I’m all for high quality tours of famous plays if it gets Shakespeare out to different audiences, including children, but I don’t think that should be the RSC’s main offering.
What concerns me most is the focus on community over quality. As someone who loves theatre but has no wish to get up on stage, take part in workshops, or even minor audience participation, I find it really odd that there seems to be a shift to seeing people like me as somehow less valid than those who want to join in. It’s worrying if people with big power in the arts are ignoring the validity of non-participants to the point where it’s okay for a large national theatre company to move its focus away from producing high quality work for its audiences. The RSC’s stated mission is “to inspire and captivate audiences and transform lives through amazing experiences of Shakespeare's plays and of great theatre”. That is exactly what they’ve done for me in the past, and why I find it so sad to see them in decline. I just can’t see how re-focusing on community achieves this, and why the theatre world and funding bodies aren't up in arms about their decline (or are they?)
PS I appreciate what Lynette said about Greg Doran. Of course I have lots of sympathy for him personally, but I think this is beyond criticising one person and more about how the company has been allowed to lose direction over quite a long period, while seemingly not raising any concern with those who ought to be providing the checks and balances - the board, ACE and others.
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Post by Jan on Nov 16, 2021 11:34:35 GMT
... the company has been allowed to lose direction over quite a long period, while seemingly not raising any concern with those who ought to be providing the checks and balances - the board, ACE and others. Of course the more you and I - members of their "traditional audience" - complain the more they will take that as a ringing endorsement of their current strategy. I wonder how it will play out ? As far as I can see Whyman is 100% nailed on to take over from Doran full time and will step straight into a financial crisis - I don't see how they can repay £1.5m a year of the Covid loan while they're only operating with one theatre and a small number of unappealing productions. |
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Post by Jon on Nov 16, 2021 16:01:23 GMT
Let's be honest, the loan from the Government probably won't get paid off straight away anyway and what are the Government going to do if they don't pay it in full, foreclose the RSC?
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Post by lynette on Nov 16, 2021 16:23:02 GMT
I don’t mean well thought out brilliant productions like the Almeida Macbeth which I would have loved to take students to or the all women Donmar stuff, all great. You know what I mean: sticks and huge balloons.
There used to always be a couple of rows of kids in the audience back in the day, enjoying themselves on the whole.
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Post by dlevi on Nov 16, 2021 16:30:22 GMT
I can answer one of those questions. Why no top-line international directors at RSC ? Because they don’t invite any. It's true . But it's also a poisoned chalice at this point. They need a major world class director and executive director to galvanize the organization and someone who could attract the talent needed to bring it back to its glory days ( pre- Adrian Noble) .That list is short. And given the current climate and funding requirements, it would be able to be a man, so the list has gotten even shorter. But someone along the lines of Kenneth Branagh or Stephen Daldry or Marriane Elliot or Sam Mendes might be up to the task - if they were interested. Until then, they're simply going to tread water and hopefully not drown. |
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