New plays by Tom Stoppard don't come along very often, so of course when one did, it was inevitable that I would book tickets. My friend A and went on what turned out to be press day
I have very mixed feelings about the play. I really wanted to like it, and given Stoppard's track record, I had high expectations, but I ended up feeling that there was a much better lay somewhere inside, struggling to get out.
The premise is that it follows a single family, living in Vienna, from 1899 to 1955. The family are (mostly) Jewish - Hermann Metz (Adrian Scarborough) , head of the family, has converted and been baptised as a catholic, and married a catholic woman and considers himself to be assimilated into Austrian society. He has ambitions to join the jockey club, is an optimist about the ways in which the Austrian Empire has progressed, allowing Jewish people to leave the ghettos and become accepted in society.
His brother-in-law, Ludwig Jakobovicz, is a mathematician at the University, and is less optimistic, more resigned to the realities of anti-semitism and a slower rate of change, and primarily focused on his research.
The play moves forward in time, with scenes in 1900, 1924, 1938 (Kristallnacht) and 1955, there is a cast of over 40 people, although the numbers fall over the course of the play, with the final scene having just 3 characters remaining on stage. Almost everything takes place in a single room, which changes from turn-of-the-century richness to the grim, battered state of the room in 1955,. It's an excellent visual reflection of the changing fortunes of the family.
Given that the play follows the fortunes of a Austrian-Jewish family through the first half of the 20th Century it was inevitably going to end tragically, and this is constantly foreshadowed throughout the play, to the extent that is feels very heavy handed.
And that is my key issue with the play - it has an awful lot of very obvious, repetitive exposition, with characters laboriously explaining things to each other,including things about their own shared personal and family history.
There are parts where the exposition and foreshadowing are done much more subtly, and work far better - for instance, in relation to WW2.
The final scenes were very well done - the remnants of the family have returned to try to recover their looted art (A Klimt portrait of Hermann's wife, Gretl) and home . The survivors include the character presumably based on Stoppard himself, a young man whose mother was widowed before the war, and remarried an English journalist, who was able to take her and her son to England, in 1938, and to bring her son up as a Englishman, forgetful of his Austrian and Jewish roots, who becomes someone to whom the others can explain what happened.
The play ends listing the names of the characters we last saw in 1938, and their fates.. Auschwitz, Dachau, Suicide....
I think this could have been a very good mini-series, with more time and space to allow us to get to know the multiple characters and perhaps to show more, and cut down on the lectures-to-the-audience , alternatively I think it could be a very good play, if it were perhaps to be edited a little, with a view to trusting the audience a little more.
Saturday, 29 February 2020
Wednesday, 26 February 2020
Carmen - ENO at the Coliseum
I saw Bizet's Carmen a couple of weekends ago, in a production by the ENO at the London Coliseum. I have had mixed feelings about the previous operas I have seen - I like the music, but find it much harder to suspend my disbelief and get immersed in the show than I do with straight theatre.
I enjoyed Carmen - maybe because so much of the music is familiar, but it has to be admitted that having it sung in English, and therefore wholly understandable, does rather expose the er.. somewhat thin plot.
The story, as far as I could make out, is along these lines:
- Soldiers are doing soldiery things like parading around on guard duty and ogling passing women. A good, well-brought up young woman comes looking for a soldier, José, she brings a letter from his mother and there is some very loud musical flirting based on her bringing kisses from his mother..
- She leaves, and a lot of girls from the cigarette factory come out to take a break and flirt with the soldiers, with Carmen singing about how she doesn't love anyone who might love her, and giving José a flower., before going back to work.
- A fight breaks out in the factory and Carmen is accused of knifing another woman - at which point we learn that the army apparently doubles at being the police force, and that they are not believers in any kind of investigative process. For no obvious reason, rather than taking Carmen immediately to prison, she is instead to be tied up, first.
- This provides the opportunity for Carmen to manage the fastest seduction in history, plotting (very musically and at the top of her voice) with José, to suggest that he should allow her to escape. José, being clearly very susceptible (and presumably sex-starved) instantly succumbs, and agrees to let her escape by ... er.. giving him a shove and running away.
- Carmen duly runs away (there appears to be a rule that if she makes it off stage, she's free and no-one is allowed to chase her any further), and José is arrested and sent to prison for 3 months for letting her get away (his superior officer having found him out, possibly through having overheard Carmen laying out her plan in detail, and possibly due to the inherent improbability of a young cigarette girl managing to break out of her bonds and escape from a heavily armed soldier.
- We are now half way through.At the start of the second half, Carmen, along with some other gypsy women, is dancing in a nightclub. The patrons mostly seem to be soldiers, including the on who ordered her arrest, (who appears not to recognise his fugitive, possibly because she is wearing a different frock). In this production, the nightclub is a car, instead. Much flirty dancing ensues.
- A passing toreador, Escamillo, arrives at the club, mostly as an excuse for the splendid Toreador song, which doesn't really need any excuse!
- José gets out of prison and shows up at the cafe / nightclub / car where Carmen makes him very welcome. However, all is not good - the bugles ring out from the barracks, and Jose must return to do his duty. But, sings Carmen, she loves him and wants him and he should stay..
- Despite the fact that the last time he listed to Carmen's plans, he wound up with 3 months in prison,José allows his libido to overcome his judgment once again,and decides to stay with Carmen rather than returning to barracks. For no very obvious reason, Carmen's gypsy friends also kidnap José's boss.
- Time passes. There is some singing. We learn that Carmen and the gypsys are involved in smuggling. There is some singing about how they are excellent smugglers, how women are useful to distract the guards and how smuggling is very dangerous. It does not appear to occur to anyone that a loud choral exposition about their smuggling plans might be a bad idea.
- While waiting for their smuggling plans to mature, Jose's original girlfriend (remember her? With the letter, from the first act?) turns up looking for José. He is unimpressed by her skill and determination in tracking him down and her committment to getting his other's letter to him, despite his being somewhat unsatisfactory track record as a boyfriend so far. Carmen and her friends so a spot of tarot and find that Carmen is doomed! The is Death in cards, no matter how often you deal them.
- Escamillo, the toreador, also shows up. He has the hots for Carmen, but being a sophisticated metrosexual type of chap is unfazed by the fact that she has a lover, points out that she also has a low boredom threashold and will be over him in a few months. José is less relaxed about things, and starts a fight with Escamillo. He fails to kill him, and Escamillo leaves, inviting everyone to his next bull fight.Because just because someone just tried to stab you death is apparently no reason not to put them on the guest list.
- We then go to the bull fight. There is much rousing singing about how brave and daring he bullfighters are, how great everyone looks, and how amazingly awesome Escamillo is. Carmen has got a bit bored of José by this point and enters on Escamillo's arm, enjoying the limelight. Jose shows up, and they have a fight, which mostly consists of José making it clear that he loves Carmen and no-one but him can have her, and Carmen telling him she isn't interested. And then he kills her.Which rather dampens the mood.
Despite the downbeat ending, it was entertaining, and I enjoyed it more than the other operas I've seen - I am glad I went. Although I am still not convinced that setting it in the 70s really worked.
Monday, 10 February 2020
William Blake at Tate Britain
I was in London again to see the final performance of The Ocean at the End of the Lane at the National Theatre, which was just as good on re-watching.
But before that I went to Tate Britain to see their big William Blake exhibition.Like a lot of popular exhibitions, they seemed to have oversold the tickets so it was very crowded, which was frustrating, but despite that, I did enjoy it.
Job, his wife and friends 1785 |
Newton C1795-1805 |
The Night of Enitharmon's Joy (previously known as Hecate) 1795 |
Seeing so much of the art together I was struck by how modern a lot of the art felt, despite having been created in the late 18th C.
More photos here
Sunday, 2 February 2020
Henry VI at the Sam Wanamaker
My friend A and I saw the Globe's trinity of Henrys - Henry IV Parts 1 and 2, and Henry V. last year,so when we saw that the Sam Wanamaker Playhouse next door was ding Henry VI, it seemed like a good plan to go!
Henry VI is 3 separate plays - I've seen the plays once before, in 2013, as 3 separate plays this production is a compressed version of the 2nd and 3rd of the trilogy, so starts with the arrival of Queen Margaret, and the news that she comes with no dowry, and at the cost of losing provinces in France won by Henry V. Things don't do well, from there...
It's a modern dress production, York appears as a wide-boy type, in a white suit embroidered with white roses, and the others has suitably colour coded and decorated clothes, too. This King himself, Jonathan Broadbent, appears in a hoodie, making him less impressive and memorable in appearance than any of his courtiers, emphasising his passive role.
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Cast photo (photo from Globe theatre) |
Later in the play, once the battles started, characters wore sports kit in red or white, emblazoned with their names (and in some cases, regnal numbers) - a costuming choice which does help to allow the audience to keep the characters and their allegiances straight, but at the same time does downplay the serious nature of the conflicts.
I particularly enjoyed Sarah Amakwah's performance as the strutting, prickly Edward, and John Lightbody as Gloucester.
However, over all I felt the play was a bit patchy - it dragged in places and felt rushed in others - perhaps as a result of the cuts and merging of the 2 plays.
I am glad to have seen it, but don't regret my decision not to also book for RIchard III, which is part of the same season
Saturday, 18 January 2020
Ian McKellen
Back in March of last year, at the start of his epic tour of 80 theatres to celebrate his 80th birthday, I went to see Sir Ian McKellen in Bristol, and then after he finished his tour, he added extra dates and did 80+ performances at the Harold Pinter Theatre, and on an impulse, last autumn when the dates were announced, I booked a ticket for the very last show, on 5th January.
Because why not, if you get the chance to see Ian McKellen, why wouldn't you?
I went up with time to spare, and walked from the station, which took me via Marble Arch, where, it appears, a rather large herd of baby elephants has appeared, since I was last there.
The sculptures are raising awareness of orphaned elephants (The Sheldrake Trust).
There is also a beautiful sculpture of a horse's head, which I did enjoy.
My seat was in the second row of the stalls, so I had an excellent view.
The show was similar to how it was when I saw it last March, although not exactly the same - it still covered him talking about his life history in the first half, including talking about his childhood, his opposition to s.28 and his coming out, being awarded his knighthood, (he wasn't a fan of the Queen's choice of dress on the day) and some of his roles, including his role as Widow Twanky in pantomime - which was hugely entertaining even if, like me, you are not a fan of pantomime! (His reprise of the role involved him throwing first sweets, then oranges, and finally a couple of bananas and a cucumber, into the audience)
This demonstrated that he has excellent aim - he managed to get sweets and oranges into the circle, and even the balcony! The lady sitting to my right got an orange.
Among other things, he gave us 'Gus the Theatre Cat's song from Cats,(prefaced by some plate-licking, which I think is a reference to the new film)
The second half was primarily Shakespearean, with Sir Ian getting the audience to try to name all of Shakespeare's plays (first folio only), with his comments on them and some excerpts.
Sir Ian as a stroppy teenage Juliet was particularly entertaining, and his Rogue and peasant slave speech from Hamlet, and fear no more the heat of the sun from Cymbeline. We also got Aufidius' speech welcoming Martius Coriolanus.
Oh, and a skit on the speech from Henry V , naming the French dead at Agincourt, but replacing their names with various wines - imagine, if you will, Sir Ian intoning 'Chateuneuf de pape' mournfully, as befits a death...
At the very end of the evening, he gave us Sir Thomas More's The Strangers Case speech (the only speech we have written in Shakespeare's own hand, and one which Sir Ian was the first actor to perform, as the lay was banned in Shakespeare's own day.
He had us perform the art of the crowd, caring for the strangers to be expelled, and then delivered the impassioned defence of strangers and refugees, which Shakespeare gave to More.
Because this was the final night, after the show came to an end, there were speeches, from Ian, and his director and stage manager, with thanks and jokes all round.
It was all a great deal of fun. And afterwards, Sir Ian came out to the foyer to collect cash from us as we left (asking for a 'silent collection' - paper money only!
The tour has been an astonishing achievement - over 160 performances at 80 theatres, and raising over £3M for various theatre-related charities.
I went up with time to spare, and walked from the station, which took me via Marble Arch, where, it appears, a rather large herd of baby elephants has appeared, since I was last there.
The sculptures are raising awareness of orphaned elephants (The Sheldrake Trust).
There is also a beautiful sculpture of a horse's head, which I did enjoy.
My seat was in the second row of the stalls, so I had an excellent view.
The show was similar to how it was when I saw it last March, although not exactly the same - it still covered him talking about his life history in the first half, including talking about his childhood, his opposition to s.28 and his coming out, being awarded his knighthood, (he wasn't a fan of the Queen's choice of dress on the day) and some of his roles, including his role as Widow Twanky in pantomime - which was hugely entertaining even if, like me, you are not a fan of pantomime! (His reprise of the role involved him throwing first sweets, then oranges, and finally a couple of bananas and a cucumber, into the audience)
This demonstrated that he has excellent aim - he managed to get sweets and oranges into the circle, and even the balcony! The lady sitting to my right got an orange.
Among other things, he gave us 'Gus the Theatre Cat's song from Cats,(prefaced by some plate-licking, which I think is a reference to the new film)
The second half was primarily Shakespearean, with Sir Ian getting the audience to try to name all of Shakespeare's plays (first folio only), with his comments on them and some excerpts.
Sir Ian as a stroppy teenage Juliet was particularly entertaining, and his Rogue and peasant slave speech from Hamlet, and fear no more the heat of the sun from Cymbeline. We also got Aufidius' speech welcoming Martius Coriolanus.
Oh, and a skit on the speech from Henry V , naming the French dead at Agincourt, but replacing their names with various wines - imagine, if you will, Sir Ian intoning 'Chateuneuf de pape' mournfully, as befits a death...
At the very end of the evening, he gave us Sir Thomas More's The Strangers Case speech (the only speech we have written in Shakespeare's own hand, and one which Sir Ian was the first actor to perform, as the lay was banned in Shakespeare's own day.
He had us perform the art of the crowd, caring for the strangers to be expelled, and then delivered the impassioned defence of strangers and refugees, which Shakespeare gave to More.
Because this was the final night, after the show came to an end, there were speeches, from Ian, and his director and stage manager, with thanks and jokes all round.
The tour has been an astonishing achievement - over 160 performances at 80 theatres, and raising over £3M for various theatre-related charities.
Friday, 10 January 2020
Christopher Eccleston at Toppings
I am lucky to live near Bath, which has two independent bookshops, both of which do regular author events. The most recent one which I attended was when Topping's invited Christopher Eccleston to speak about his autobiography, I love the bones of you.
Its a very personal book, focusing on his relationship with his father,and as taking about his own history, his mental health and struggles with anorexia, - I haven't yet read it in full, but he spoke about all of those things, very frankly, and with a lot of humour.
He was warm and friendly, especially during the Q and A section of the evening when people were sharing information about their own experiences of a family member with dementia - it was both moving and, at times, surprisingly funny.
He also talked a lot about his family and his choice to become an actor having a lot to do with not wanting to follow his father into a factory job!
I am looking forward to reading the book!
Sunday, 15 December 2019
The Ocean at the End of the Lane
I was both excited and wary when I heard that the National Theatre would be doing a production based on Neil Gaiman's novel The Ocean at the End of the Lane excited because I love Neil's work, and Ocean is a book which speaks to me particularly deeply, and wary because it isn't a book which lends itself easily to being adapted.
I am seeing the play with friends next week, but also booked to see the first preview, as I feel that you get a different experience when you go to the theatre alone, and can focus solely on the production, then you do when you are also enjoying a social experience. Plus, I thought that if the adaptation was good, I might well want to see it more than once!
I was not disappointed. Going into the Dorfman foyer, there is a projection (complete with lightning) of the Boy in the storm, then going into the theatre there is the set, with a great arched backdrop of thorns and brambles.
In the opening scene we see the adult 'boy', standing at the grave of his father, and we are off!
I was really impressed with the production - despite my concerned, it really, really works, both as a stand alone piece of theatre and as an adaptation of the book.
The production uses puppetry, with visible puppeteers, to bring the Skarthach and the Hunger Birds to life, and they do so magnificently - the Skarthach is huge, a spider-like creature of rags and rubbish, and the huger birds are terrifying creatures - more frightening than the Skarthach itself.
Samuel Blenkin and Marli Siu, as the boy, and Lettie Hempstock respectively, are both excellent, and Pippa Nixon makes a superb, scary Ursula Monkton.
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Set (during the interval) - thorns and part of the Hempstock's kitchen |
There are some changes to the novel - the Boy's father is a widower, and he is a little older, but in general it's very faithful to it's source, and the changes are mainly, I think to pare it down to fit a 2 hours play.
It's very good - heartbreaking and magical and frightening in all the right ways. The set and staging are very good - from the nostalgic warmth of the Hempstock's kitchen, to the frightening ubiquity of Ursula as she moves impossibly fast from door to door.
I can't wait to see it again.
The play i on at the National Theatre until 25th January. I believe it is almost sold out but there are a few tickets still on some days, and day tickets and returns are available - if you can, do go!
Saturday, 30 November 2019
Playing in The Dark - Neil Gaiman and the BBC Symphony Orchestra
I like Neil Gaiman, and I like music, so when I saw that Neil was going to be reading from some of his works, with accompanying music from the BBC Symphony Orchestra, of course I needed to get a ticket, and to add to the enjoyment, I got to hang out with some friends before the show.
We met up for some delicious Chinese food and lots of conversation, then we had a brisk (and partially unplanned - thanks, London Underground!) walk to the Barbican, where we split up (as we had not booked at the same time, so had separate seats)
I had a mild panic, as just after I sat down another woman with a ticket for the same seat also showed up, but happily the Barbican staff were able to sort it out (it turned out that the other lady had a different seat allocated to her in their system than the one on her e-mail confirmation, so no-one missed out.
The format of the evening was Neil reading from his works, and introducing pieces of music, mostly with a brief explanation or comment about what the music meant to him, or why he chose it.
BBC Symphony Orchestra (before Neil came on) |
The Sorcerer's Apprentice (Dukas)
April (from 'A Calendar of Tales'
Walking the Dog (Gershwin)
The Ocean at the end of the Lane (extract)
The Nightmare Song (Gilbert &Sullivan) Sung by Simon Butteriss
The Mushroom Hunters (read by Amanda Palmer)
(accompanied by an arrangement by Jherek Bischoff)
There is a link here to a recording of her reading it to the music, on a different occasion
Vampire Sestine
Valse Triste (Sibelius)
October (from 'A Calendar of Tales)
Oriental March, Belshazzer's Feast (Sibelius)
*Interval*
The Ride of the Valkyries (Wagner)
Norse Mythology (Fenris Wolf)
Fahrenheit 451 - Prelude (Hermann)
The Man Who Forgot Ray Bradbury
Dies Irae,Sinfnia da Requiem (Britten)
A Nightingale Sang in Berkley Square (Sherwin, arr. Jherek Bishoff)
Sung by Amanda Palmer
Then, just when we thought the show was over, Neil returned to introduce a special guest to give a reading from Good Omens, everyone's favourite less-than-wholly-evil demon, Mr David Tennant.
David Tennant reading from Good Omens |
He read from the scene where Aziraphale and Crowley are drinking in Aziraphale's bookshop, and he was glorious! The narration was in his own (Scottish) voice, but the dialogue he did in his Crowley voice, and in a superb Michael Sheen as Aziraphale .
We didn't get to hear hear the extra verses of Nanny Crowley's lullaby, which I had thought might be a possibility, when I hears that he was appearing, but one can't have everything, and we did get a lot!
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If I knew who came up with these captions I would credit them, but I don't, so I can't |
We also got to hear the Good Omens theme played by the full orchestra, which was wonderful! And both for that, and for David'd reading, the stage was lit, half red, and half golden white,
All of this took far, far longer than the advertised run time, which is probably why the broadcast which goes out on Christmas Day will, I think, be edited and won't include David's reading, but I may be wrong (or the BBC may change their mind!)
Because I am very fortunate in my friends, I got to go to a party afterwards, and while that and the over-running show meant I missed the last train home, and had to find a hotel at very short notice, it was such a fun evening that it was worth it all!
The broadcast is on from 7.30 p.m. to 10 p.m. on 23rd December, and will be available worldwide via BBC Sounds for 30 days after that..
Monday, 25 November 2019
The Lion, The Witch and the Wardrobe - Bridge Theatre
After seeing Lungs I spent the evening at the Bridge Theatre, to see their new production of The Lion, The Witch, and the Wardrobe. The play was originally staged 2 years ago in Leeds, and the 'Aslan' puppet from that production hangs in the foyer at the Bridge, having been replaced by a bigger version for the show.
The Narnia books meant a lot to me growing up, and I remain attached to them despite their flaws, so I was a little apprehensive about whether the show would do them justice.
However, I felt, on the whole, that it works pretty well, although not everything is to my personal taste - I could happily have lost most of the musical numbers and felt the initial sequence (of the Pevensie children being evacuated) while very clever, goes on too long. Given that this is a show aimed at children, and already goes on for almost 3 hours, I did feel that it could be a little shorter and tighter. In fairness, I did go to the first preview so it may move along a little faster once it beds in.
The set is relatively simple, the stage mimics cracking ice, and other effects include parachute silk billowing across the stage as snow, gauze drapes to show those characters who have been turned to stone, and a live, on-stage band.
The White Witch owes more to Tilda Swinton's portrayal than to the illustrations in the book, and Laura Elphinstone manages to portray her as frightening without being too 'pantomime villain. (production image here Wil Johnson as Aslan is as very impressive, although I can't help but feel that having the Lion puppet absent during some of his time on stage doesn't quite work for me, it doesn't seem quite in keeping with the spirit of the books!
However, despite these minor niggles, it is good fun, and very clever,with lots of humour, and some very clever staging. Definitely a fun christmas show, which children will enjoy.
Friday, 15 November 2019
Lungs - The Old Vic
I haven't previously seen either Matt Smith or Claire Foy live on stage, although I am of course familiar with both of their works on screen, so I was interested to see Lungs, which is short, two-person play, about a couple dealing with the practical and ethical issues of whether to have a child, in particular the ecological impact of doing so.
It's often funny, but ultimately pretty bleak.It shows the couple making compromises - with their principals, with their ambitions and even their relationship, and trying, if not always succeeding, to do the right thing while also trying to keep the things they want from life.
Both actors give excellent performances, although neither character is entirely likeable - and while they remain a couple I was left with the nagging feeling that they might both have been happier apart. I also felt that the play started to falter a little towards the end, when we jumped forwards decades.
However, despite having somewhat mixed feelings about the play itself, it was an opportunity to see two excellent actors, and to see them in a production where the lack of other performers, or props, or anything but the most minimal set, meant that the focus was very much on the actors, and they rose to the challenge
The performance I saw was the last matinee, but had the run not already ended I would be suggesting that you see it, if you could!
Thursday, 31 October 2019
Orpheus in the Underworld
I am not a big opera fan, generally, but decided to give 'Orpheus in the Underworld' a go - partly as it is directed by Emma Rice, whose work in the theatre I have enjoyed, party because it was described as being both light and satirical, plus it is of course the source of the CanCan music, so got to be worth a try!
And it was ...interesting, but a bit patchy, I thought . It started with the death of a baby, triggering Orpheus and Eurydice's separation, which did start things off on a rather depressing note, and it took a while for the lighter side of the opera to kick in.
But it was entertaining once it did - the chorus, wearing tutus made of balloons, and dancing with a greater or lesser degree of enthusiasm, were a particular high point!
And Willard White, as a world-weary, lecherous Jupiter, was wonderful to hear.
Mary Bevan was a strong, angry Eurydice, full of rage in the 'Can Can' song.
And it was ...interesting, but a bit patchy, I thought . It started with the death of a baby, triggering Orpheus and Eurydice's separation, which did start things off on a rather depressing note, and it took a while for the lighter side of the opera to kick in.
But it was entertaining once it did - the chorus, wearing tutus made of balloons, and dancing with a greater or lesser degree of enthusiasm, were a particular high point!
And Willard White, as a world-weary, lecherous Jupiter, was wonderful to hear.
Mary Bevan was a strong, angry Eurydice, full of rage in the 'Can Can' song.
Curtain Call (Photos explicitly encouraged by the theatre) |
Tuesday, 29 October 2019
Bristol Old Vic - Members Open Day
I currently have membership at Bristol Old Vic theatre, and they recently held a members open day, which involved several short presentations, and the chance to watch a little of a technical rehearsal.
It was interesting - the presentations included one by one of the producers, talking a little about her role, and the Old Vic's role as a regional theatre, which often collaborates with other theatres .
The second was a short play writing workshop, which was very interesting (and applied pretty well to other kids of writing, I think)
After a break for lunch we were then allowed into the auditorium to watch part of a technical rehearsal - The timing wasn't ideal, as we went in at a fairly slow point in the rehearsal, but nevertheless, I found it really interesting, not least to see, the afternoon before the play opened, what was still being worked out!
Tom Morris, the director, popped up to say hello and explain briefly what was happening.
I wasn't able to stay for the final session, which was about youth engagement.
This was the first open day the theatre has held, and there were a few things which I think they may be able to improve for next time, but I enjoyed it, and was glad I went. And had some interesting conversations with other attendees, too.
It was interesting - the presentations included one by one of the producers, talking a little about her role, and the Old Vic's role as a regional theatre, which often collaborates with other theatres .
The second was a short play writing workshop, which was very interesting (and applied pretty well to other kids of writing, I think)
After a break for lunch we were then allowed into the auditorium to watch part of a technical rehearsal - The timing wasn't ideal, as we went in at a fairly slow point in the rehearsal, but nevertheless, I found it really interesting, not least to see, the afternoon before the play opened, what was still being worked out!
Tom Morris, the director, popped up to say hello and explain briefly what was happening.
I wasn't able to stay for the final session, which was about youth engagement.
This was the first open day the theatre has held, and there were a few things which I think they may be able to improve for next time, but I enjoyed it, and was glad I went. And had some interesting conversations with other attendees, too.
foyer |
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