18 posts
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Post by lucky700 on Dec 23, 2017 11:47:27 GMT
I do not know what they were thinking doing Twelfth Night after the NT version which was very well received and memorable. Boggles the mind.
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Post by Jan on Dec 23, 2017 15:27:39 GMT
I do not know what they were thinking doing Twelfth Night after the NT version which was very well received and memorable. Boggles the mind. Same thing they were thinking both scheduling Macbeth next year - get lots of school parties in. |
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5,707 posts
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Post by lynette on Dec 23, 2017 18:26:51 GMT
Someone should persuade the exam boards to allow other exam selections but then as the teachers only know Macbeth and R&J we are probably stuck.
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18 posts
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Post by lucky700 on Dec 23, 2017 19:51:15 GMT
Doesn't matter what you teach. It is all the same in the end. Don't know anyone that does 12th anymore. But it is one of the more popular to bring kids to.
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1 posts
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Post by markjames on Dec 28, 2017 21:22:51 GMT
How can it be true that the directors weren't allowed to choose what they wanted to do in the RSC's Rome season? True that Angus Jackson's Caesar uses a very similar setting to Imperium, but Blanche McIntyre's Titus? Hardly! Jackson's Coriolanus? Also not all that similar I'd say.
There is a LOT of really excellent work goes on at the RSC, and true, some that's far from perfect as well. It's popular to say "it's not as good as in the past" but I'd beg to differ. Like all companies and theatres there has always been good and bad. However, I'd suggest that reports of it's demise are extremely premature.
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1,239 posts
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Post by nash16 on Dec 28, 2017 23:46:58 GMT
I'm hoping the all female directors led season next year sorts out the mess the company is in at the moment, with regard to innovation and new energy. You don't necessarily need "star" directors. Rather a fresh passion and a looking forward, rather than back. I can't wait for next year actually. Just a shame audiences will be watching this Rome season thinking this is the great RSC and it's not. What I meant by star directors really was directors who could stand up to Doran and force through their own ideas. That Roman season was Doran’s concept, the directors didn’t choose to use a single set or sword and sandals costumes, they had to go along with it - to be consistent with Doran’s Cicero plays I suspect which had to be set in Rome. Oh goodness. Did he make them do that? That's v depressing. Hopefully the ladies can burst free. |
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Post by Deleted on Dec 30, 2017 17:41:23 GMT
Well. I thought it was smashing. It zipped by rather nicely in a way most Shakespeare plays don't tend to and it was a rather thrilling tale. Now, I know they're a pair of murderers but I just loved Cassy and Bruty. The two actors, Alex Waldmann and Martin Hutson, were fabulous. They both died so well too, I had a tear in my glass eye both times. And they wore their lovely red capri pants very well too.
Lovely set, very Hollywood and nice to see lots of togas and sandals on offer. I'll even forgive them cutting the "Infamy, they've all got it in for me" line. Nice frocks for Portia too.
One bit got a big gasp from the audience which was fun. Plus I loved James Corrigan as Mark Anthony. The fact that he spends much of the beginning of the play topless had nothing to do with it. He is a fine piece of real estate though and I'm willing to put down a deposit.
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1,061 posts
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Post by David J on Dec 30, 2017 23:16:51 GMT
On Caesar fighting back, Robert Stephens specified that had to happen before he took the part in the RSC production. Hicks played it for them too - that’s the sort of actor you need for it. In Imperium Peter de Jersey's Caesar certainly fights back. In fact, he mocks the conspirators first weak swipes at him. "Pathetic" he calls them. |
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5,707 posts
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Post by lynette on Jan 1, 2018 14:11:06 GMT
Seeing the version of the assassination in Imperium made me realise even more, if that is possible, how brilliant Shakespeare's version is.
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Post by Jan on Jan 20, 2018 20:20:05 GMT
Just back from the last performance of this. Having read yesterday in "The Stage" about how amazingly equipped our great Public Schools are in the theatre department, the uppermost thought in my mind at the end of it was, "this could have been Eton's end-of-term production." As Dr JB and others said, it's totally traditional, full togas and declamations. Being fair to it, it's a very clear G.C.S.E. type reading of the text. You'll understand every word. Trouble is, there's too little in the interpretation and examination of meaning. The fact it was political was obvious, but there is so much to be made of the machinations that just wasn't. On the upside, there's some nice humour in there, and I really fancied Calphurnia by the end of it as well. But that's just me, of course. Oddly enough I saw a public school production of this play recently, there were some imaginative bit of direction which were superior to the RSC production. |
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