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Post by oxfordsimon on May 4, 2021 17:24:15 GMT
What has he said this time?
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Post by peggs on May 4, 2021 18:28:14 GMT
This one?
Wokespeare
SIR – Our purpose at the Royal Shakespeare Company is to ensure that Shakespeare is for everyone. This is reflected in our casting, and we always aim to select the most exciting talented individual for each role. Our casting is never blind, it is rather conscious of the amazing diversity of talent across the UK. The choices we make are far from gimmicks.
The Winter’s Tale (Letters, April 29) included two deaf actors: Bea Webster is bilingual and uses spoken English in the first half of the play and spoken English and British sign language in the second half of the play. William Grint uses British sign language and visual vernacular.
To object to the right of any actor to play these roles because of their region, ethnicity, gender, culture or particular access needs devalues the work of our artists and underestimates the audiences we serve.
Gregory Doran
Artistic Director, Royal Shakespeare Company
Stratford-upon-Avon, Warwickshire
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Post by peggs on May 4, 2021 18:29:22 GMT
in response to this one I think
SIR – In her article on The Winter’s Tale (Arts, April 23), Emma Smith did not go into the production by Royal Shakespeare Company, broadcast on April 25 on BBC Four.
This was packed with gimmicks, such as colour-blind casting: Mamillius was acted by an Indian boy, though his likeness to his father is frequently mentioned. Men’s parts were given to women; the Old Shepherd became an Old Shepherd Woman.
The oddest feature was the use of actors whose spoken English was so difficult to understand that subtitles appeared on the screen. What was the director's point? I never discovered, as that was when I turned the television off.
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Post by peggs on May 4, 2021 18:38:57 GMT
I haven't seen the production in question and neither am I a long term, loyal attendee at stratford having been only a couple of times so I have no particularly informed view of what's on offer there. That said the first letter seems to be about the casting of actors and their 'unsuitability based on their race, disability etc' which does somewhat raise my alarm bells plus the paper it's in is one I tend to steer clear of because of opinions voiced. I've seen one of the mentioned deaf actors in a production at the globe, that Cymberline one under Emma Rice's leadership that people loved or loathed and he was great. Similarly they have worked with other hearing impaired actors to much success over the last few years, it's different I grant you and yes depending on how they do it you do lose the audible reciting of some lines but I think you gain elsewhere. And really if we're still harking on as to whether actors look like one another when they're supposed to be related.
The current set up may need a change and certainly as others have noted their output over the last year in relation to the funds they're receiving seems really out of whack compared to other theatres. Some of the stuff i've seen screen seemed pretty poor and I'm quite willing to believe it doesn't compare well to past eras. Just i'm uncomfortable if the judgement is based on actors not looking and sounding right when there seem to be a myriad of other reasons that the RSC may need an overall. And i'm not saying any of you have said that as there have been many a well explained view on here as to the shortcomings which I have been interested to read.
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Post by oxfordsimon on May 4, 2021 21:08:04 GMT
Casting of family members does matter for a lot of audience members. Particularly in a play where the paternity of the child is in question.
We are told we have to understand that this is theatre and so we must suspend our disbelief.
For some, that is fine. But if the casting requires additional explanation or takes audience members out of the world of the play then I do understand the concern.
Theatre is there to immerse audiences in the world of the play for those 2-3 hours. It can and often should challenge us.
But you have to take your audience with you. I am not sure Doran is doing that.
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Post by David J on May 4, 2021 22:23:43 GMT
I remember the 2012 season where in comedy of errors nobody noticed how antipholus was growing older and younger again and again
And in twelfth night Olivia didn’t mind how cesario suddenly shot up an inch.
Then again Gregory Doran didn’t bother to make the twins look remotely the same in his production
But that’s suspension of disbelief for you
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Post by Jan on May 5, 2021 6:14:57 GMT
If you cast a black actor as Polixenes as they did here then some in the audience will inevitably assume that one of Leontes' motivations is that he is a racist. So it is not really "colour-blind" casting in the context of the play, the auience have no reason to "ignore" the fact he is black, in fact they are more likely to assume it's very important as in Othello. That is fine, but that wasn't the intention of the playwright and it somewhat skews the play because there is then even less cause to have any sympathy for Leontes when his redemption comes.
It is a different situation in Comedy of Errors because the text itself makes it clear the twins are supposed to be identical - that's where suspension of disbelief applies.
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Post by peggs on May 5, 2021 18:41:27 GMT
True I hadn't thought about the issue of the child's father is one of the plot strands, that does granted add something extra into the mix which may not be helpful.
I rather treat the issues of twins who don't actually look like each other as being like how characters suddenly become unrecognisable sometimes just because they've put on a hat or something such as Kent.
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Post by Jan on May 6, 2021 6:21:33 GMT
I rather treat the issues of twins who don't actually look like each other as being like how characters suddenly become unrecognisable sometimes just because they've put on a hat or something such as Kent. Normally with Kent they also assume a Dick Van Dyke cockney accent to complete the transformation. I seem to recall even McKellen did this when the great man was somewhat miscast in the role. |
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Post by lynette on May 6, 2021 17:06:27 GMT
I’m way out on a limb here but perhaps the casting of Mamillius was also dependent on the covid restrictions. Having a little child play the part was possibly not practical under the circumstances. As for colour,
I just never want to go down the road of “oh, he is a little bit black, maybe Mediterranean, or perhaps a throw back to his grannie...” This is quite terrible imo. I don't want to have to think about it. The acting is all.
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Post by peggs on May 6, 2021 18:06:01 GMT
I rather treat the issues of twins who don't actually look like each other as being like how characters suddenly become unrecognisable sometimes just because they've put on a hat or something such as Kent. Normally with Kent they also assume a Dick Van Dyke cockney accent to complete the transformation. I seem to recall even McKellen did this when the great man was somewhat miscast in the role. All I can picture now is the literal Dick Van Dkye a la Mary Poppins doing Kent. If that has been my experienced I've clearly blanked it out from the trauma. |
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Post by Jan on May 6, 2021 19:12:43 GMT
I’m way out on a limb here but perhaps the casting of Mamillius was also dependent on the covid restrictions. Having a little child play the part was possibly not practical under the circumstances. As for colour, I just never want to go down the road of “oh, he is a little bit black, maybe Mediterranean, or perhaps a throw back to his grannie...” This is quite terrible imo. I don't want to have to think about it. The acting is all. I’ve often wondered if you could do the play as normal but right at the end make it quite clear that Paulina actually did have an affair with Polixenes - totally undercut the entire play in the last 30 seconds. |
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Post by peggs on May 6, 2021 21:34:15 GMT
Paulina having an affair would under cut the play but not quite what you mean I think  |
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Post by Jan on May 7, 2021 6:28:00 GMT
Paulina having an affair would under cut the play but not quite what you mean I think Right. Hermione I meant. It would explain a lot though, Leontes' rage wouldn't be entirely inexplicable, and shutting herself away for 16 years would be an act of penance for being partly responsible for the death of Mamilius. |
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Post by Jan on May 12, 2021 8:35:43 GMT
This one? Wokespeare SIR – Our purpose at the Royal Shakespeare Company is to ensure that Shakespeare is for everyone. This is reflected in our casting, and we always aim to select the most exciting talented individual for each role. Our casting is never blind, it is rather conscious of the amazing diversity of talent across the UK. The choices we make are far from gimmicks. The Winter’s Tale (Letters, April 29) included two deaf actors: Bea Webster is bilingual and uses spoken English in the first half of the play and spoken English and British sign language in the second half of the play. William Grint uses British sign language and visual vernacular. To object to the right of any actor to play these roles because of their region, ethnicity, gender, culture or particular access needs devalues the work of our artists and underestimates the audiences we serve. Gregory Doran Artistic Director, Royal Shakespeare Company Stratford-upon-Avon, Warwickshire He is ignoring the fact that the person making the comments actually is "part of the audience" he serves and I'm sure a fair percentage of the RSC's audience agrees with them in part at least. So, his claim that his purpose is to "ensure that Shakespeare is for everyone" is not strictly true, it is to ensure it's for everyone except all those people. The fair point about the ethnicity of Mamillius creating a problem in the context of play (likewise Polixenese) is not addressed - I assume because he has no answer for it. |
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Post by Someone in a tree on Jun 10, 2021 6:55:46 GMT
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Post by Jan on Jun 10, 2021 7:29:13 GMT
At a time when theatres all over the country are struggling financially I don't think it was wise of the RSC to actively promote the fact it has spent £8m just on their costume/props department, what do they think people's reaction will be ? |
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Post by oxfordsimon on Jun 10, 2021 17:06:42 GMT
How much money did they get for lockdown closures?
There are serious questions to answer about their use of funds.
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Post by cirque on Jun 10, 2021 17:24:15 GMT
A few years ago I would have been excited...now it’s a folly as is outdoor theatre.
They do not deserve to continue in this form. New team needed and full restructure of model
Shakespeare and his contemporaries matter not a jot to my thinking.
Hate term woke but it is the appropriate one to describe the approach and disdain for past audiences who gave so much.
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Post by frappuccino on Jun 12, 2021 23:22:47 GMT
Alan Rickman described his time there as a sausage factory churning our students and they had to learn to shout in the dark.
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Post by Jan on Jun 13, 2021 10:19:18 GMT
Alan Rickman described his time there as a sausage factory churning our students and they had to learn to shout in the dark. I think that was probably true at the time but there were single years in the 80s when they had 20-30 productions running in their 5 theatres, on tour, and a few West End venues. This year they have one. But their funding in real terms isn't that much different. |
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Post by frappuccino on Jun 13, 2021 11:17:08 GMT
Alan Rickman described his time there as a sausage factory churning our students and they had to learn to shout in the dark. I think that was probably true at the time but there were single years in the 80s when they had 20-30 productions running in their 5 theatres, on tour, and a few West End venues. This year they have one. But their funding in real terms isn't that much different. He did say he returned to the RSC happily later. |
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Post by TallPaul on Jun 13, 2021 11:26:35 GMT
The place where Alan Rickman really learnt his craft wasn't the RSC, it was the world-famous Crucible Theatre. 🙂
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Post by frappuccino on Jun 13, 2021 11:29:23 GMT
The place where Alan Rickman really learnt his craft wasn't the RSC, it was the world-famous Crucible Theatre. 🙂 Did you watch any of his plays there? |
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Post by TallPaul on Jun 13, 2021 11:59:13 GMT
The place where Alan Rickman really learnt his craft wasn't the RSC, it was the world-famous Crucible Theatre. 🙂 Did you watch any of his plays there? No, I'm far too young! I doubt there are any archive recordings either. |
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