Rebecca Caine, Interview about Flowers for Mrs Harris and more

Rebecca Caine

Rebecca Caine

Rebecca Caine is an actress. She was born in Toronto and studied at the Guildhall School of Music, London. Rebecca kindly took some time out today to answer some questions about her career. She is due to appear in Flowers for Mrs Harris at Sheffield Crucible Theatre next month.
Based on the novel by Paul Gallico, Flowers for Mrs Harris is a new musical set in 1940s London.
Here we go.

Hello Rebecca! Obviously you’ve done a lot of the last quarter of a century. Have you been a twenty five-year overnight success?
36 years I have been at it, actually. Nope. I had success (luck) right off the bat but my career has gone up and down and through several different genres.

Rebecca Caine

Rebecca Caine at Flowers for Mrs Harris rehearsals

You are in Sheffield at the moment for Flowers for Mrs Harris. Is it any good?
It is utterly brilliant. It’s as good as Les Miserables in its own very different tender charming moving way.  I am incredibly excited to see how an audience will react to it.

Do you think female actors have a harder time than male actors when it comes to the second half of their career?
Yes. Of course. The great thing about Flowers is that there are four strong roles for women over 40.
Things need to change. I have thought about refusing to pay my tv licence until I see my age group represented properly.

 

Rebecca Caine

Rebecca Caine in Les Miserables

You were in the original cast of Les Mis. How have musical theatre styles changed over the years? Is it just a case that there are fewer roles for older actresses, but it’s harder for them to adapt to newer Musical Theatre conventions? It seems like hard work these days.
This interview seems to be about my age! I wonder if you would ask a male actor the same questions. I cannot speak for anyone else though I will say being older doesn’t mean you can’t learn new tricks! In my case I make a certain sound (full on legit soprano) that is not written for very often. If I belted it might be slightly different but not much.

You recently said of Phantom of the Opera that you’d rather gouge your eyes out. 
I am grateful to Phantom for all its given me and like the show. The quote is about entering the theatre it playing in; I have never made any secret of the fact I had a rotten and miserable time in that production.

What’s the best freebie you’ve ever been given?
I got bumped onto Concord.

Are you getting bored of these questions yet?
You are very close to the edge.  Have we discussed what it’s like to be a hot 50 something soprano who acts yet?

The title of your autobiography would be…
Caine and Unstable.

What’s your best advice for auditions?
“Be yourself” which for me means singing a top C and then throwing a chair across the room after a foetus informed me that “He’d grown up listening to me on long car journeys and could I just sing 8 bars”.

What is the most underrated musical of all time?
I hate musicals. Seriously!

Flowers for Mrs Harris runs at the Crucible, Sheffield from 18 May – 4 June 2016.

 

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Mark Ravenhill, Playwright: “There is really only one rule to learn before writing a play”.

Mark Ravenhill
Mark Ravenhill

Mark Ravenhill

Mark Ravenhill is a playwright. 20 years later ‘Shopping and Fucking‘ still looks like it’s from the future and Mark continues to look ahead. I thought it would be nice to catch up with Mark to see exactly what’s happening. And I was right – it was very nice indeed.
Despite not really doing interviews he agreed to a chat. Here’s what happened.

Hi Mark Ravenhill. If you were to draw a graph of the last ten years, how would it look?
Some leaps of imagination needed here.  First, that I could draw a graph. Which I can’t.  I’ve never been able to stick to the squares on graph paper. And second, that I have the kind of mind that imagines shapes that fit on graph paper.  Which I don’t have either.  So my graph of the last ten years would me trying to think in a way which I can’t, using a medium that I’m not suited to.  In other words, my graph of the last ten years would be one of messy failure. That is not a metaphor. Or a cry for help.

A view from Islington north

A view from Islington north

 

What can you tell us about A View From Islington North the ‘evening of political satire’ you are contributing to with Out of Joint? ‘A View From Islington North’ is a celebration of Max Stafford-Clark’s relationships with playwrights.  All the playwrights who’ve written the pieces have had work directed by Max over decades. He first directed work by Caryl Churchill and David Hare in the 1970s.  I’m one of the johnny-come-latelies, having only first worked with him twenty years ago.  Max is a brilliant, infuriating, insightful and relentless director

What’s your favourite emoji?
The winky one

Shopping and Fucking

Shopping and Fucking

Shopping and Fucking is often described as a period piece isn’t it.
I don’t know how other people describe it (if it all) but yes I would describe it as period piece. I wanted to write what it felt like to be in your twenties in that moment in time.  It doesn’t have any references to contemporary events outside the play but it’s whole mood and style belongs to the late 1990s. It’s a play that is sorted for Es and whizz.

With writers it feels like there’s a constant expectation, and that they need to keep proving themselves, throughout their career. Which perhaps isn’t quite the same for a director where you can just keep going until you fall over. Is that a fair analysis?
Do you think so?  I think directors suffer from constant expectation and many fall out of favour and fashion.  But it’s true that there is a high burn out with playwrights.  Some have one brilliant debut at somewhere like the Royal Court upstairs and then never write again. Plenty write three or four plays and then find they have no more plays to write.  Very few write plays over a lifetime. I’m fifty this year. To ensure that I too ‘can just keep going until you fall over’ I’ve mapped out a cycle of forty full length plays.  I’m committed to writing one a year, finishing each one on my birthday June 7th.  So that will take me until I’m 90, when I will fall over and die as I will have advanced osteoporosis.
If you were to write a playwriting rulebook, what would Rule One be?
There is really only one rule to learn before writing a play.  Never under any circumstances use the line ‘the door was open so I let myself in’. Everything else is allowed.
Let’s imagine we’re putting theatre as an art form in a capsule to sending it into space, which one play do you put forward?
One play to represent the whole of world theatre?  Wouldn’t it need to be a DVD of a performance? (the question is in danger of conflating a ‘play’ with ‘theatre’).  But let’s say it’s a play text.  I think it would have to be one of the Greeks. That’s drama in its purest and arguably most powerful form.  I would pick Sophocles’ ‘Antigone’, although it could just as well be Euripides ‘Medea’ or Aeschylus “Oresteia’.  How about I write a new English version and we ping that into space alongside the Ancient Greek text?
Do you endlessly analyse your creative decisions or are you impulsive?
I write first drafts almost entirely on impulse and then use analysis (often aided by the director and sometimes the actors) to work through further drafts.

Do you pay attention to critics?
I’ll listen to anyone who can help me understand what I’m doing and how I might get better at it.
To the people who are still reading, do you have a final message?
The door is still open. Let yourself out. Thank you.

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John Schwab and Matt Humphrey, “It’s not often that you take time to think about the process of the production.”

 

Royal Court Theatre, Curtain Call, photo by Matt Humphrey

Linda, Royal Court Theatre. © Matt Humphrey – Curtain Call (2016).

Curtain Call: A Year Backstage in London Theatre is the first in a series of photography books by photographer Matt Humphrey and actor/director John Schwab featuring an extraordinary collection of fly-on-the-wall backstage photography from London theatre productions in 2015/16. Coinciding with the 40th anniversary of the Olivier Awards, in addition to exclusive backstage photography, Curtain Call also includes a foreword by renowned actor David Suchet and extended interviews with Chief Executive of The Old Vic Sally Greene, Artistic Director of the Royal Court Vicky Featherstone, casting director Jessica Ronane and actress Kate Fleetwood. The book is now exclusively available to buy from www.curtaincallonline.com

Tell us more about writing ‘Curtain Call’. Where did it come from?
John: Curtain Call was something I had a spark of an idea for when I was showing my sons some old programmes that I had from productions earlier in my career.  They asked if I had any real pictures from productions that I could show them, which I didn’t.  I realised that I also didn’t have any historical document other than the production photographs in those programmes as a testament to my career.  I thought this is something that needed to be addressed.  Theatre is such a visual medium, and there was nothing out there that could be seen once a production had closed.  I also wanted to make a website to service the same need and fill the same gap.  I approached photographer Matt Humphrey with the idea, and thankfully he was 100% up for doing it. It was serendipity that Matt had just finished documenting a year at The Hackney Empire. We started Curtain Call together and we haven’t looked back since.

Is this book for anybody or specifically a theatre audience?
John: I believe that this book is not only for a theatre audience, but also photography enthusiasts as well as anyone who is interested in what it takes to put any project together, be it a play, opera, film, radio show poetry event…you name it.  It envelops all corners of the art world. I think that anyone who enjoys aesthetically pleasing art would admire and get so much out of this book.

Gypsy, Savoy Theatre, photo by Matt Humphrey

Gypsy, Savoy Theatre

Gypsy, Savoy Theatre. © Matt Humphrey – Curtain Call (2016). (2)

How much do you think the general public care about backstage workers?
John: This is why I thought Curtain Call would be such a good idea.  It’s not often that you take time to think about the process of the production.  When we had our visit to “Charlie and the Chocolate Factory”, the company manager (Wyn Williams) told us that it takes over 150 people to make that show happen every day. 150!  Now an audience member is only going to see 25 or so people on stage and taking their bow.  I wanted to shed light on what it was like backstage – showing that there is more than just the performers on stage that is making the show tick.  I think that with Matt’s photography people are going to have a much better idea of the hard work, passion and dedication which runs through a company to make it the best production possible.  There is a fascination with what goes on backstage in any arena, and we wanted to shed light on the hard work carried out by all the professionals involved in a production

What is your favourite backstage area in the West End? 
John: There are quite a few.  The “hang out” area in ‘Billy Elliot’ was fun.  I do like a Green Room and there are some spectacular ones in the West End – and not for the glamour, but for the space.  The Vaudeville Theatre has a huge Green Room where everyone involved in the production hang out.  It’s such good fun being in there.  The Dressing Rooms 1 & 2 at Theatre Royal Haymarket are absolutely stunning, and something to behold.  But my favourite place of any backstage area is in the wings.  Some theatres have massive wings like Theatre Royal Drury Lane and some non-existent like The Criterion. They are all so unique, which makes them extremely exciting.

Curtain Call contains exclusive photographs, interviews and stories not available anywhere else. What sort of things can a casual reader expect to find?
John: The casual reader would expect to find exactly that.  Exclusive access to the best of London theatre and get an insight into what it takes to make a show run.  The reader will be allowed backstage, the holiest of holies of the theatre, a privilege that most theatre fans rarely get a glimpse of.  The casual reader will also recognise many of the faces and names in the book and will hopefully get a different perspective of that artist.

The 39 steps, Criterion Theatre, photo by Matt Humphrey

The 39 Steps, Criterion Theatre. © Matt Humphrey – Curtain Call (2016). (1)

Bearing in mind that obviously all photographers folk say “well I just do what I do” and so on, do you keep an eye on the movements of others you perceive to be your competitors?
Matt: Naturally I am interested in what other photographers are doing, and I would actually be very interested to collaborate with them – potentially through Curtain Call. I don’t really see other theatre photographers as competitors – we all have a distinct way of shooting and do different things. I have been fortunate to combine my experience of working backstage with my reportage and portraiture photography, which I think is quite unique, and people like that.

Thanks, lads! 

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Barney Norris, Playwright Interview: “The new media we’ll be tiptoeing towards is about extending our reach to new audiences. That’s the heart of what we do – reaching people.”

Barney Norris is a very good playwright.

At the age of 28, he won the Critics’ Circle Award for Most Promising Playwright for “Visitors”, which both the Guardian and Evening Standard named as one of the best shows of 2014.

Things we wanted to discuss included his his career, Wittgenstein, Tractatus, clause 7 and his favourite service station.

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Here’s how the chat went.

Hello Barney! What are you doing at this exact moment in time.
Hello Carl! I’m in my flat drinking Aldi own-brand instant coffee, which I hate because of the taste but love because it’s a gleaning from touring to Scarborough and all links to the memory of touring adventures are precious, while my cat sits on my shoulder like a parrot.

VISITORS was a huge critical and commercial success. Presumably the pressure you put on yourself — and I get the impression you put a lot of pressure on yourself — would have been enough to be getting on with. How did you approach writing EVENTIDE?
EVENTIDE happened the same as VISITORS more or less, it started with wanting to make a play, and then it was grown by the same group of people using a very similar process of development (which I use for everything really). Having done a play people liked did make things scarier – but it also made a thousand things easier too. Not just money and production and so on, but it made things easier in terms of story. I felt suddenly that I knew who I was for, and what I wanted to do.

What do the next 12 months hold in store for Up in Arms?
Actually a lot of that’s still secret and can’t be announced: we’re just wrapping up the tour of GERMAN SKERRIES, our first play by another writer, Robert Holman (big step forwards for the company), which has been very successful and very fun. Then we’re in development on two new plays, one by me and one by the brilliant Bea Roberts, and planning a tour of a play I can’t yet name for spring 2017, and planning two ventures into media we’ve never visited before. Growing plays is a slow, loving, laborious business, so our fight is to let them take the time they take even if it means we only get to make so much work. The new media we’ll be tiptoeing towards is about extending our reach to new audiences. That’s the heart of what we do – reaching people. Not necessarily just reaching as many people as possible, quality and depth of engagement is crucial and that’s what we offer as a company over, say, a movie, we offer quality and depth, but we do always want to grow our audiences. So we’re in a period of development.

What’s your favourite service station on any United Kingdom motorway?
It’s all about Fleet. I suggest at least twice a year to my fiancée that we should do Christmas Day at Fleet one year, partly because it feels like we spend it there anyway, visiting everyone, but also because I love it. We got engaged last month and I outlined the possibility of having the ceremony in the overpass that links the two sides of the services. She hasn’t agreed to it yet, but we’ll see. I think it’s important to acknowledge the beautiful trees that surround Fleet. It’s an eery place at dawn. But these are the ravings of a service station amateur – you have to check out Henryiddon.com/forton-stories. That’s the goldmine.

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FLEET SERVICES

You’ve just published your first novel ‘Five Rivers Met on a Wooded Plain’ How do you choose what parts of your life you put forward in your writing?
I don’t think I do really! I think writing is probably a translation of experience into sense/meaning/something approximating those two. So it all goes in really, even if not all of it gets a mention. Because all the work is just an expression of what it feels like to be alive at the present moment. All the work I do of my own volition anyway. There are commissions I take for different reasons that are more targeted explorations, less about the self, but the novel, and VISITORS and EVENTIDE, they’re quite self-exploratory.

When will the world end and whose fault will it be?
The world ends for each of us at the end of our lives, and I don’t yet know who to blame for that. As for the planet – she’ll be around long after our filaments are all burned out. It’s us, not the planet, who are on the way out, I think.

You strike me as someone who doesn’t take the easy route. How will you feel when you decide you’ve done what you needed to do?
The Evening Standard said that about me last week, is that where it first struck you? I kind of decide that every evening when it’s time to relax and eat and sleep and so on, but in the larger sense, I see older generations facing up to the end of their careers and I don’t know whether that happens with creativity. I think people always still have something to say while they’re alive, but our sight, our hands, our minds fail us. My Grandad didn’t choose to stop his woodwork, his hands gave up on him, he got shaky. So I don’t know whether what you’re describing will happen.

If I locked you in a safe for twenty four hours with no phone, what would you do inside your head?
Panic. I like space. It would depend on whether or not I knew I was getting out at the end of the day.

Tell me this, though. You’re quite credible aren’t you. You’ve been written about in all the right places, your plays get seen by all the right people. Is it right, though, that actually you’re kind of not that cool?
The most important tv show I ever watched was a Mr Motivator episode where he tried to be cool. So he wore a baseball cap and went skateboarding and, in a telling insight into how far we’ve come, ate a hamburger, but he still wasn’t cool. He was still wearing head to toe Lycra. Then a kid told him that being cool was about being yourself, and being happy with yourself, that there was no such thing as absolute cool. But in general, I think your question has too many undefined terms (credible, right, cool) for an answer to be possible, so – Wittgenstein, Tractatus, clause 7.

Anything that you’d like to add?
I think I’ve done quite enough damage already.

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Mr Motivator

Cheers!:-)

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Amy Rosenthal, Playwright Interview: “I’d be surprised if any playwright felt a constant coasting satisfaction; in any freelance career there’s always an element of fear.”

The other day I had a bit of chinwag with Amy Rosenthal who just happens to have two new plays on the verge of coming out. Amy is a playwright who is a very obliging woman so she answered all the questions, and some other ones too.

Here’s what happened during the chat.
Greetings! What are you up to currently? 
Hello! I’m currently in rehearsal for my play Pelican Daughters, which is part of the Shakespeare In Shoreditch Festival 2016. I’m one of four playwrights commissioned to write one-act plays inspired by Shakespeare, Shoreditch and storms – to be performed in site-specific locations from 20th-30th April.
Mine’s a modern-day spin on King Lear about three Jewish sisters, focusing on the eldest, Gaby, who’s desperate to please her dad on his eightieth birthday. He’s a naughty old tyrant who once ruled his East London patch and is now prey to redevelopers who want to gentrify the area. It’s about family and roots, and I hope it’s funny. I have a great cast and a terrific director, Kay Michael. It’s lovely to be in a rehearsal room after a period of solitary writing time, and I’m lucky because I then go straight into rehearsal for Fear of Cherry Blossom at the Cheltenham Everyman Theatre.

What can we expect from your new play Fear of Cherry Blossom?
Funnily enough, it also focuses on a Jewish family. Dinah and Abby are unmarried sisters on either side of forty, and Abby, the youngest, has become a committed Buddhist. Dinah and their dad Ronnie are alarmed by Abby’s choices, and Dinah wants to pull her sister back to her values, and what she thinks life ought to be. The play touches on themes I’ve wanted to explore for a long time – it’s about Anti-Semitism, which feels pertinent and (on stage) rarely addressed – about inherited, inter-generational fear – and about faith, in all senses. Judaism, spirituality, and how to keep faith with oneself, especially in the middle patch of one’s life.

Amy rosenthal

Amy Rosenthal.

Will you tell us a secret about yourself?
I’m Jewish.

I didn’t see that coming, Amy… Can you describe your state of mind when you are writing a play?
Tortured? My close friends, especially playwright Phil Porter, get the brunt of it – the fat tears, the self-doubt. The beginning is the worst, it’s as though in order to find my voice, which is essentially light and comic, I have to go through some dark night of the soul that can last – well, considerably more than a night. Once I finally know what I’m doing and the play starts to take shape, I’m very happy. I love my own company, I’m rarely lonely, the play becomes more real than reality. I write from 5.30 a.m. in a joyful state – a bit like the feeling after a migraine. Everything feels light.

What cereal do you like to have in the morning?
I’m not a cereal girl. I like toast and I love eggs. Sometimes I have porridge oats baked in the oven into a flat pancake, buttered, with cucumber, because someone once told my mum it’s good for you.

Is this industry, are there a particular of personality type that rise to the top? 
I don’t know about a personality type, I’d say a lot of playwrights are quite shy, but what you need is staying power. “Rising to the top” can happen fast, or mid-career, or late; most writers rise and descend many times. I’d be surprised if any playwright felt a constant coasting satisfaction; in any freelance career there’s always an element of fear. It’s a solitary profession and there are long periods of writing before productions happen (especially in musical theatre, which can take years to come to fruition because its so collaborative) so you often feel forgotten or as though the world thinks you’re not working. You have to just keep working, keep faith, and take on other jobs too – teach, run workshops, interact with other humans. It’s taken me a stupidly long time to learn crucial lessons about all this and I’m still learning. But I’m very disciplined now, and very committed.

Can you tell us about your Russian Doll painting sideline? 
The great David Edgar, who taught me playwriting at Birmingham University, also inspired my mad sideline. David collects Russian (matryoshka) dolls – mostly political figures. He commissioned me some years ago to paint his family on a set of blank wooden dolls. I loved it and I’ve been doing it ever since – painting families from photographs. A commission often seems to come along at the right moment and it’s a great antidote to writing because you don’t have to think. It’s meditative. It’s not easy to paint an accurate portrait on a curved surface, and the tiniest dolls are a challenge, but if you get it right they can feel uncannily alive.

Russian Dolls ( Dynasty Dolls) by Amy Rosenthal

Dynasty Dolls.

Is your life an open book?
I wonder. I’m not at all secretive and I like making people laugh, but on the whole I’m the listener in a lot of my exchanges.

If I were to hand you a book from the future, and it was the autobiography you wrote when you were 80, would you read it?
I don’t know. I’d be scared. Is there an index?

Anything that you’d like to add?  
Not really, I think I’ve gone on at length.

That’s that then. 

Russian Dolls by Amy Rosenthal

Amazing.

‘Pelican Daughters’  to be performed as part of Shakespeare in Shoreditch Festival 2016, 20-30 Apr, tickets available to purchase at  New Diorama Theatre 

My Theatre Grudge: Standing ovations

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If you do want to stand up, know that your final decision will be definitive and 100% correct. Authentic, voluntary, high spirited standing ovations are truly uncommon things.”

Standing ovations are dished out like cocktail sausages. That’s right ladies and gentlemen. We are living in an era where hundreds of reasonably sensible people are falling over each other to leap to their feet and clap at the drop of a hat. Since when did ovations become so unavoidable?  Is it because we have spent so much on a ticket? So often audiences appear fulfilled by work that is “not terrible” or that “could have been worse”. And then they get up on their feet and applaud. Very rarely I do too, credit where its due etc.

If you are one of these people, how often do you mean it? Would you stand up if the “posh people” around you didn’t, but the work you’d just seen had changed the very fibre of your existence? Because that is when you should get up and show your appreciation. If you do want to stand up – get up and know that your final decision will be definitive and 100% correct. Authentic, voluntary, high-spirited standing ovations are truly uncommon things.

We’ve all been in an auditorium where folk bounce up and down like a Jack in a box when it isn’t earned. There is a lot to be said about mawkishness around standing ovations.

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Sunset Boulevard has got people up and out of their seats thanks to Glenn Close making sure the revival of Andrew Lloyd Webber’s ’50s noir-inspired musical was a triumph. Audiences gave a standing ovation the second she walked on the stage and before she’d sung a note. But this kind of ovation isn’t entirely for her performance but for who she is, her bona fide celebrity glamour and what she embodies. (I stood up too.)

I watched GYPSY at Chichester Festival Theatre and was all too happy to participate in a standing ovation for Imelda Staunton mid-song. It felt natural and I did so of my own free will. It was an almost instinctive experience whereby the entire audience spontaneously combusted. The audience, briefly, matched the show.

A standing ovation is a public situation, so I suppose is open to manipulation such as, for instance on Press Nights where family, friends and supporters gather to show considerable support for a production. Or in big shows like Bend it Like Beckham or Mamma Mia where the false-ending is cynically engineered to achieve a standing ovation from the people in the stalls. In any case, a standing ovation that has simply become part of convention is basically futile.

As a general rule I would suggest that you stand up and clap when someone delivers the goods (‘the goods’ being at least six exciting moments per show, usually more) Be open to life itself, and the surprises of life. Standing ovations have to catch us by surprise, when we are the least looking for them. So, half-hearted ovations are, in the very purest sense, a load of old nonsense. And there, it would seem, we have it.

Note:  Article to be published in UK theatre Magazine- May 2016

X, Royal Court, London.

X” is not what it appears.

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X” is set on a small research base on Pluto. Pluto’s distance from the Sun is 3.67 billion miles. Much like the planet itself, “X” relies on what you bring to it. It is both engrossing and alienating.

X” is not what it seems.

Written by Demi-God Alistair McDowall and directed by Vicky Featherstone with customary assurance, this production is incoherent, but looks good and is mostly well acted. Sure “X” is ambitious. Even startling. But too many plot points are left to the audience’s imagination without absolutely any explanation whatsoever.

Superb as the visuals are, I wish that Featherstone’s production paid more attention to McDowall’s language. Not much is made visually apprehensible.

I liked the huge dead bird on stage and the bird that was flown in – wonderful
opportunities for design and stage management. I didn’t enjoy quite so much
all that mum stuff at the end and the last moment when someone said the tree
was her mother(!).

Science fiction never announces its subtext this narcissistically. Still, it’s a smart response to the excesses of the sci-fi genre. Without wishing to baffle you, people are doing this shit because everything is fucked. Theatre needs to be instrumental in un-fucking everything.

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It seemed like a 6/10 event – slightly above average and, for that reason, an average McDowall play.

McDowall’s got talent but at the moment no very coherent way of presenting his ideas. We shall see how he moves forward.

At the Royal Court, London, until 7 May. Buy tickets for X from www.royalcourt.com 

Guest Blog: The Royal Court’s Young Court

Published by www.ayoungertheatre.com on 04.04.2016

Looking great for 60, the Royal Court celebrates its milestone with an array of outward looking projects. Lynne Gagliano, Head of Young Court, sure knows how to throw a party. Heading up the Royal Court’s inclusive programme of activities for young people up to 21 years, Lynne cheers the Young Court projects which aim to make new theatre, offering active, direct experiences alongside the on-stage work.

“It’s all about unique learning exchanges across all departments, placing young people at our centre, fostering a live dialogue in which their views and ideas are valued and encouraging young people to discover their power to influence and change theatre.”

No party planner is without their badge of experience, and youth isn’t wasted on the young. She talks about her career and how she herself became involved with theatre at an early age. “I volunteered. My first volunteer job was at a venue I loved, the Gate Theatre in Notting Hill. It was a fantastic experience. I learned a huge amount in my time there and met people that I’m still working with today.”

Lynne trained at the Central School of Speech and Drama and, before that, taught Drama and English. How transferable are those skills in her current role? She explains, “The ability to collaborate successfully has helped me enormously in every theatre job I’ve had since leaving Central. Having worked as an English and Drama teacher has also helped me in countless ways in running an education department.”

With collaboration in mind, it’s clear the Court is really going all out to make this celebration as inclusive and open an opportunity as possible. “Being representative, and diversifying talent are core aims. We are driven by the aspiration for the Royal Court to be a proven place of opportunity for all with diverse and brilliant plays on stage and inclusive participation.” She goes on to add, “We actively seek, mentor, nurture and place writers and artists from the widest possible pool of talent and ensure that their work reaches audiences across London, nationally and internationally.”

She urges participants to let the Royal Court hear about their plans, “I think young playwrights need to try to do everything they can to let theatres know about their work. The new writing scene is incredibly robust and vibrant.”

One of the jewels in the Royal Court’s birthday crown is titled Open Court Festival. “This summer young people will be handed the keys to the Royal Court. The reins of each department are being handed over to the future of theatre. Our Youth Board and ten fantastic young writers will imagine, curate and produce a summer festival of new work. For three weeks in July, audiences can partake in thrilling, exciting events, performances, talks and projects.” Young people are not only invited to the party, but asked to shape the future years of the Royal Court, an iconic hot-bed of contemporary drama.

Source: Guest Blog: The Royal Court’s Young Court

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Launch of Theatre critique module at University of Chichester

Am incredibly proud of the Theatre Critique module at University of Chichester. For me, the module which launched earlier this year was a logical development of the Young Critics project.

The lectures have provided a brilliant combination of academic knowledge and practical skills. It has been designed to be highly practical, drawing on critics experience and ensuring students develop transferable skills.

You can take a look at some of the photos from this semester below.

An incomplete guide to mainstream

mainstream

After a week of discussion around mainstream, this afternoon I have taken the step of shifting the Mainstream Level to Critical status. I was having trouble getting my head around what exactly this whole mainstream ‘thing’ is. Then it twigged. People cannot conceive of detachment as being part of artistic appreciation: this criticism is practical, active and positive. There is no reason that critical detachment must result in a negative approach. As far as I see it regional theatre has been *rightly so* punching above its weight for years.

This week I took a trip to Bristol to watch Iphigenia in Splott. On the way home I visited Salisbury to watch Hedda Gabler. Both of these fine shows are being performed outside of London. What struck me was the geography of two excellent producing venues (Bristol Old Vic and Salisbry Playhouse) and the exceptional production values on display. It would be moronic to suggest that Iphihenia in Splott might be too challenging for any regional audience because it is ‘alternative’. Regional theatre is often real value for money.

It’s a tricky one – if The Almeida were to go bust, it would be quite sad. But ultimately people would go to another of the many venues in town. If Salisbury Playhouse were to dissapear what provision would there be on that level?

We need a fundamental rethink.

I suppose at a push I like extremely and quite unfashionably traditional productions, yes. We all understand the artistic manouverings that are a fact of life for every subsidised arts organisation in England. Bums on seats etc. But there is a bigger thing going on here. This is a monumental time for British theatre.

Well i’m going to give the mainstream thing a rest… for now. Matt Trueman will do another blog soon, there’s bound to be something funny in that.