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Post by Honoured Guest on Dec 31, 2017 16:06:31 GMT
"David Hare: my ideal theatre"
WHY was this published? Does he have a new book coming out?
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Post by Honoured Guest on Dec 31, 2017 11:06:49 GMT
The Watermill Theatre at Bagnor near Newbury, Berkshire.
Has a watermill and a duckpond with rangeing fowl.
Strolled to a matinee from Newbury rail station in a little under an hour.
They have Jerusalem this summer.
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Post by Honoured Guest on Dec 30, 2017 15:12:27 GMT
The 2 issues I had were firstly I couldn't hear what was being said, lots of mumbling going on and seconomy the amount of violence. Yes, I noticed that the violence was toned down in the latest series. But it was still very worth watching.
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Post by Honoured Guest on Dec 30, 2017 14:26:37 GMT
Yes, thinking about this further, it could all have gone so horribly, horribly wrong and yet I can't think of a single thing I could improve. From April 2018, the Board of Shakespeare's Globe would have insisted that it be lit only by candles and without electricity.
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Post by Honoured Guest on Dec 29, 2017 23:03:43 GMT
The sun has come out.
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Post by Honoured Guest on Dec 29, 2017 22:17:47 GMT
Twelve minutes until the announcement!
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Post by Honoured Guest on Dec 29, 2017 16:40:49 GMT
Funded theatre should have some relevance to the people funding it. The man in Whitehall doesn't always know best. Have you heard of the "arm's length principle"? Funding decisions are made by the Arts Councils.
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Post by Honoured Guest on Dec 29, 2017 16:34:00 GMT
To return to facts from fantasy, the Bush has always had some co-productions and presented very many visiting companies throughout its forty-odd years.
But the Theatre now has an audience capacity about three times greater than the original venue so really it's a very different theatrical operation.
And it's less than a year since reopening after redevelopment, so it's a bit soon to start moaning that there haven't been successive shows by many playwrights.
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Post by Honoured Guest on Dec 29, 2017 14:42:39 GMT
There seems to be general agreement that the Dorfman has now hit its stride, with a widely lauded 2017/18 programme {Consent, Barber Shop Chronicles, Mosquitoes, Beginning) and the forthcoming rapid succession of the next five productions (John, The Great Wave, Nine Nights, An Octoroon, Hello I'm Darling).
The Lyttelton began 2017/18 with a hugely successful seven-month season - a last hurrah from the old regime (Angels in America), an incoming American hit transfer (Oslo), a returning success (Jane Eyre) - which gave the NT a much-needed breathing space to plan the current and forthcoming season of major new productions (Network, Pinocchio, Absolute Hell, Julie, The Lehman Trilogy, I'm Not Running).
Apart from the Travelex season of new work, the Olivier has Follies, Amadeus, Macbeth, Translations, Exit the King, Antony and Cleopatra.
Verdict: STRONG AND STABLE.
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Post by Honoured Guest on Dec 29, 2017 13:47:12 GMT
But the coming season is too many transfers for my liking That should suit you - You could see every Bush show at an alternative venue Win win for you And us
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Post by Honoured Guest on Dec 23, 2017 10:43:55 GMT
Any child who enjoyed reading stories about girls' boarding schools should be a safe bet - if any still do. And who get pleasure from pulling it off.
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Post by Honoured Guest on Dec 22, 2017 14:08:17 GMT
To respond to Foxa and Bellboard, the lengthy handwritten chunk of Sylvia Plath -I think it's displayed beside the entrance to the exhibition of Relics - seemed to me to set the issues you're talking about firmly in the mind before seeing the play.
I enjoyed the whole experience of the installation and the play but, for me, the direction was unsuccessful. Glancing through the playtext afterwards - I look forward to reading it properly later - it seems quite meticulous and precise in the detail of the action. But I found the production to be too much of a blur so that I didn't identify that characters were transforming but wrongly interpreted it as the actors transitioning between scenes. Also, I think I was probably so overloaded with the scale of the installation that I overlooked small crucial prop and scenic details in the play.
I see that Julia Jarcho herself directed the premiere production by her own theatre company. So it seems a bit perverse to introduce her play to the UK in such a different production. I'd have preferred it if Sam Pritchard and Chloe Lamford had collaborated with a writer to make a show, and if Julia Jarcho had separately been invited either to supervise a UK production or presentation of Grimly Handsome or to make or co-produce, a new show here.
I feel a bit mean saying all this because I do see this use of The Site as a major step forward for the Royal Court. Did anyone here see any of the new work shown there in the summer by Chloe Lamford and a series of writers? I wish I had!
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Post by Honoured Guest on Dec 22, 2017 13:47:32 GMT
Katie Mitchell was a regular director for the RSC for many years, a couple of decades ago. While there, she chose to direct only in the two studio theatres, The Other Place (both the tin hut original and its first, pre-Courtyard, replacement) in Stratford and The Pit at the Barbican. At that time, she hadn't begun to explore video technology in theatre but was responding to Gardzienice in Poland. Happy days!
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Post by Honoured Guest on Dec 22, 2017 4:04:01 GMT
I endorse the good doctor Brock on this as heritage Shakespeare. It was a pathetic show. It’s a crying shame how completely decrepit the RSC has become. I remember when, with Hall at the NT and Nunn at the RSC, it genuinely felt like the two major companies in this country were world-leaders. Hytner had a bit of that ‘wow’ factor early on at the NT, but now, it really feels like we’ve dropped to the back of the pack. But there's still world-leading UK Shakespeare - Robert Icke's Hamlet and Emma Rice's A Midsummer Night's Dream are two recent examples. In the 60s, the RSC and NT were the young innovators and now they're the solid oldtimers. You just have to look in the right places.
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Post by Honoured Guest on Dec 21, 2017 12:14:25 GMT
Liar Damian Green is sacked.
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Post by Honoured Guest on Dec 21, 2017 3:47:09 GMT
A new writing theatre is bound to have some misfires. It's in the nature of things. But I don't understand someone saying they're considering not going because too few others attend when they do. Most people go to see things they want to see, not things that other people want to see.
The programming at the Bush is very diverse and generally very good. The first two full productions in the Theatre were of plays that had both been popular and praised in America. The Studio had a play by Barney Norris, whose Bridge commission opens in a few months' time. The current production is a co-production with an 800 seat theatre nominated for The Stage's Regional Theatre of 2017 Award. The Bush was one of the very few theatres to be awarded a significant uplift in the recent National Portfolio Organisation funding round by Arts Council England. The Bush strives to engage with and belong to London now.
J'adore the Bush.
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Post by Honoured Guest on Dec 19, 2017 10:56:22 GMT
And what'll the Royal Court be up to after March? Something for everybody, perhaps?
I'm curious to see the world premiere of Harley Granville Barker play Agnes Colander directed by Trevor Nunn at the Ustinov Studio, Theatre Royal Bath.
And the thrilling Ned Bennett's production of new Josh Azouz play Buggy Baby at The Yard.
And Mike Pearson and Mike Brookes present STORM1. and STORM2. to commence their three-year six-show National Theatre Wales STORM cycle.
And Wales Millennium Centre's second Cardiff-wide Festival of Voice includes at least three new musical theatre shows, from AUG012, Gagglebabble and Quarantine with NTW.
And Tom Morris directs Touching the Void for Bristol Old Vic, Royal Lyceum Theatre Edinburgh, Royal & Derngate Northampton and Fuel.
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Post by Honoured Guest on Dec 17, 2017 13:48:48 GMT
Whilst the mention of the Priestley "Time" plays is appropriate it must be recalled this actually predates them. But the Priestley time plays had already been written, in a future time, when this was...
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Post by Honoured Guest on Dec 16, 2017 13:11:46 GMT
The run has been extended until Sat 3 Feb.
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Post by Honoured Guest on Dec 16, 2017 12:32:41 GMT
perfectly-written and performed gem I second that! I was engaged, provoked and amused from beginning to end. And empathised with all the characters despite their mutual antagonisms. The play is continually surprising so don't read ANYTHING about it beforehand. However, it's only fair to report a range of audience reaction, from very early walk-outs to bemused people left completely untouched to enthusiastic lovers of it such as me. An outstanding play, brilliantly played and staged. Very intelligent without a hint of alienating cleverness. But not everyone likes it!
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Post by Honoured Guest on Dec 16, 2017 11:26:47 GMT
Yes, the length makes the transfer schedule even more problemmatic.
One solution would be to transfer it for a limited season to the Olivier (like Young Chekhov from Chichester Festival Theatre).
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Post by Honoured Guest on Dec 16, 2017 11:13:10 GMT
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Post by Honoured Guest on Dec 16, 2017 11:07:23 GMT
I'm more interested in othellomacbeth at HOME and the Lyric Hammersmith in the autumn. (Not in shared lighting).
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Post by Honoured Guest on Dec 16, 2017 10:51:40 GMT
National Express are profiting from this scheduling, cancellation and reinstatement with post-show talk.
First, I purchased a ticket to travel back home straight after the play.
Then, I bought a second ticket to travel home in the early evening because of the cancellation.
Now, I may choose to stay for a talk, and would need to get a third, later, ticket home.
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Post by Honoured Guest on Dec 16, 2017 10:47:21 GMT
There is no interval!
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Post by Honoured Guest on Dec 16, 2017 10:45:01 GMT
First thought - It's fiendishly difficult to successfully schedule commercial theatre runs of two-part plays - Except for the mega-hits (Harry Potter and the Cursed Child, Wolf Hall).
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Post by Honoured Guest on Dec 15, 2017 23:48:07 GMT
Public booking opens on Thu 21 Dec at 12noon.
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Post by Honoured Guest on Dec 15, 2017 16:20:17 GMT
Michelle Terry highlights the audience as core to her mission and suggests a very vibrant season with local,national,international focus. Disappointing that she's shunning any intergalactic element.
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Post by Honoured Guest on Dec 15, 2017 13:53:59 GMT
Any links to Pinocchio reviews? You can see the strings quite clearly.
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Post by Honoured Guest on Dec 15, 2017 12:01:58 GMT
What did the english trainer bark at the welsh dog?
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