The National Theatre, future plans

You know what's more boring than the same old argument on this thread? the same old posters coming at me no matter what I post. Dr, Professor, Good Sir, I could agree 100% with anything you post and you'd still find a way to call what I said 'wrong' somehow. You'd argue black was white and snow was warm just to quote me and say I was wrong. I'm not sure why, but there we go. 

I'm not wasting time arguing you actual points, because myself and others have gone over this time and time again on this thread. I (and others) disagree that the NT 'has' to programme as much 'classical' repertoire as some expect (and indeed what is that definition) and the overriding argument here from most of us on the other side is that it's too soon to judge Norris' tenure. 

Ooh yeah I forgot. Right so just so I've got this straight, for when I take over from Rufus....

-Familiar classical repertoire. Obviously done in a traditional way, no boundary pushing or innovative directors (bye Ivo)
-Work with the BEST current working directors and also discover the next big thing, who we will know is the next big thing from the very first production. 
-Revive all the 'classics'. But no foreign muck. This is Brexit Britain after all, and America well what have they contributed to drama anyway? 
-Reflect the state of the Nation. Unless the state of the Nation is somewhat experimental, not written and directed by a known talent and/or somehow doesn't correspond to established tastes. 
-No Americans, living or dead. 
-Musicals, also seem to be out. Sorry Imelda. 
-Programme new work. Except not in the Olivier. Also not the Lyttleton. But why are all the new plays shoved in the Dorfman. 
-No Americans. 
-Be Nick Hytner. Except for the times we hated him too. 

Have I covered it? 

At least when you take over the OTHER 'How Long?' question will quickly be answered, we all know the pictures are out there somewhere  

The 2016/17 annual report should be published next month so I guess we will know more then. Summary of the 2015/16 report is here if anyone is interested in actual facts!

www.nationaltheatre.org.uk/about-the-national/key-facts-and-figures

Both American and foreign stuff acceptable. What with technology we could even have foreign stuff performed in foreign with translations on a screen. O my what a thought! Minor classics yes. Major classics yes yes. Musicals of course - they are national and theatre aren't they? So ok Imelda you're in again. But please no poor plays, no preaching plays a la late Hare or more recently that England crap. You know the one. No upsey downsey the sake of it. Put plays in appropriate spaces. ( so maybe hire Olivier out to a circus and Lyttleton to corporate presentations)
And what do they do in Berlin? Sorry I must have missed that. I'm away in foreign land at the moment.

Ha! Naturally.

I shall make it Nash policy that every production has to have at least one hot actor in it (preferably more). And they should be prepared to disrobe. The part will always call for it.

The opening production will be Chekhov's 'Three Brothers' starring Tom, Jonny and Marc. Set in a nudist camp.

Start as you mean to go on, I say.

I don't think they're extreme positions. There's certainly been a lot of negative press in the broadsheets about the Norris regime, and the feeling in the industry is hardly that it's a golden age.

It's not to do with whether my feelings contrast with anyone else's, either. I was trying to find a way of measuring the success of a regime against a previous one, and to take a look at the shows in that regime felt like a fair way of doing it. I'm very happy to look at some other rules too if you have better ideas. It is, after all, just a forum.

As to favouring past over current, I don't think you've understood; I've only noted shows from the period in which Hytner had been in post for as long as Norris currently has.

And as for the successes that have been pointed out, I have addressed that - compared to Hytner, very few of those Norris successes have garnered the kind of recognition, either in awards or in outbound transfers to other venues. They're successes, sure, but just not of the same size and scale.

I'd say the same thing about the artists you mention above, that very few of them on your list (many great ones though there are) have an actual relationship with the building beyond just doing one show there and then not returning. Hence my trying to measure it as in my last post.

The ruckus here blew up in large part between posters with different opinions of the purpose and goal of the NT. And different Directors of the NT also have different objectives. It's not all about who has the longest transfer or who gets the highest star ratings from the national critics or who chooses directors of productions in the most explicitly hierarchical manner. It's also about whose stories the NT tells, to whom it endeavours to speak, which sectors of the theatre world it invites in to produce work, etc., etc.. Of course, the organisation must remain financially and operationally sustainable but that isn't the ultimate end. In my opinion, the philosophy and practice of the NT under Rufus Norris is a huge leap forward from Nicholas Hytner, but everyone will have their own personal views on that. It may be of some interest to reduce analysis of the NT to a numbers game but I feel that misses the point.

You are right - all of you 😄- it is not about the numbers.
It is just a shame that we do not anticipate a NT production with baited breath and curiosity. We just wonder if anyone will turn up. Unless that is there is a 'star' turn.

I don't think I anticipate any production with baited breath and curiosity unless there's a 'star' turn - either within the cast or as one of the creatives - no matter where it is.

In fact, I've managed to double-book myself for The Suppliant Woman at the Young Vic because I completely forgot I'd booked it at all!

Well I think I look forward to what's on at the Nash more than any other theatre really. I'm more likely to book for stuff that I don't know anything about there than at other theatres.

Obviously if there's a star hottie in it or someone from 'Game of Thrones' then I'm all over it like Joan Collins at a graduation ceremony.

By the way, The Suppliant Women is too sold out for me to exchange, so I am returning for credit. 25th Nov matinee, if anyone wants to ring up the Young Vic quick and book it!