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Streams ahead: NT LIVE

National Theatre Live is invaluable. You could be forgiven for raising an eyebrow at the notion of a “broadcast theatre performance” in a cinema. Since launching, NT Live broadcasts have been seen by an audience of over 7 million people. The first season began in June 2009 with the acclaimed production of Phédre starring Helen Mirren. Recent broadcasts include Follies, Angels in America, Who’s Afraid of Virginia Woolf? and Hedda Gabler.

Upcoming broadcasts include Cat on a Hot Tin Roof starring Sienna Miller and Jack O’Connell and Julius Caesar featuring Ben Whishaw. The National broadcast some of the best of British theatre to 2,500 venues in 60 countries around the world including over 700 hundred in the UK.

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Obviously, it’s better to be in the theatre, that goes without saying. Nevertheless, it is true that it is much better to sometimes sit in a cinema in comfort, with a drink in your hand than it is to sit in the worst seat in a theatre. Seats in some theatres are bloody terrible. There are some seats at the top level of The Barbican where you can see more of what is going on in the wings that what is happening on the stage.

It is worth remembering that not everyone has a theatre on their doorstep. In general, NT Live is the most revolutionary thing to happen to the theatre in our lifetime because theatre, which is often condemned as elitist, is now available to anyone who wants it – anywhere: If you can get to a cinema you can see the best of theatre –  at a fraction of the price.

NT Live screenings are a welcome addition to the local Odeon or Picture House for any culture vulture. But they are no alternative. That doesn’t mean it’s not amazing, it just means we need to focus on the future but not lose sight of the value of live performance.

I attended the ‘studio audience’ for the NT Live broadcast of Follies from the theatre. There were rows of seats blocked off in the stalls, with cameras flying overhead and the lighting ever so slightly adjusted for film. It was a wonderful experience and the spectacle of the production carried across to film remarkably well. 

Anyway, I put some questions to the NT Live team and they cleared up some queries that I had, which was ideal.  (You’re welcome)

What is NT Live? 

National Theatre Live started in 2009 as a way to increase access to our work for those audiences who might not have the opportunity to see it. It was initially conceived for UK audiences but the response was so positive, we started screening internationally too. We currently screen to 2500 venues in 60 countries, 700 of which are in the UK which is around 90% and the same as a Hollywood blockbuster.

Our first broadcast was Phedre with Helen Mirren which was seen by over 50,000 people. Our single biggest broadcast is Hamlet with Benendict Cumberbatch which has been seen by more than 800,000 people. Our current worldwide audience is almost 8 million

Who owns it and where are the NT Live offices?

It’s run and managed by the National Theatre and the NT Live team are based at the National Theatre building.

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Cat on a Hot Tin Roof captured live at the Apollo Theatre during its West End run on February 22

Who are NT Live personnel? 

There are a dedicated number of people who work on NT Live across production, distribution, marketing and press. We work with a freelance team of operators across cameras, sound and lighting for the broadcasts themselves. The Bridge are using NT Live to broadcast Julius Caesar. The team at the Bridge are great friends of ours. Nicholas Hytner is our former director and Nick Starr former executive director here. We hope to broadcast more of their productions in the future. Working with other theatres has been part of the NT Live programme since our second year and supports us in bringing the best of British theatre to cinema audiences.

Is it a stand-alone live broadcast company?

NT Live is run and managed by the National Theatre.

Does it get public funding?

Our pilot season in 2009 was made possible by seed funding from Arts Council England and NESTA (National Endowment for Science, Technology and the Arts) and subsequently through a mix of National Theatre investment and sponsorship. We also have a partnership with Sky Arts which is a year old but has been a great success in its first year and we’re looking forward to see where it will go next.

Can any theatre pay for it and use it? e.g. The Globe.

The Globe and ENO already broadcast their own shows which they organise themselves, this means working with other theatres in London We regularly work with other London theatres including the Young Vic, The Old Vic and the Donmar Warehouse as well as other West End producers. We really enjoy working with other theatres and getting to show their great productions to cinema audiences around the world.

How about a regional theatre?

We have worked with Complicite to broadcast A Disappearing Number live from Theatre Royal in Plymouth as well as Manchester International Festival to broadcast their production of Macbeth with Kenneth Branagh. We also broadcast Of Mice and Men on Broadway, broadcasting more regional theatre is something we’re keen to do more of in the future. Some find it confusing that it has the name NT Live. It both gives it prestige and seems to limit it. What particularly excited us about this concept was the fact that it was captured and broadcast live and that’s why the live is there.  

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Imelda Staunton who plays Sally Durrant and Janie Dee who plays Phyllis Rogers Stone waiting to go on stage © Ellie Kurttz

 How are cinema prices decided?

Each cinema chain decides on pricing according to their individual pricing plans.

How do Encore Screenings work?

We programme Encore screenings as a way for audiences to access our productions at more convenient times but also so we are able to give more opportunities to see our most popular broadcasts.

How are the age ratings given?

We are subject to BBFC ratings in the UK and provide the broadcasts to them for classification. They also provide guidance for our live broadcasts based on information we provide to them ahead of the broadcast taking place.

So there we have it. 

Cat on a Hot Tin Roof captured live at the Apollo Theatre during its West End run on February 22, Julius Caesar live from the Bridge Theatre on March 22 and Macbeth live from the National Theatre on May 10

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Critical email gaffe – will it make The Bridge wise up?

I have a unique insight of those who labour in the corners of arts journalism and in my experience, the relationship between a PR and a critic has always been built on a nonsense inside a farce, but in recent years this relationship has contorted in bizarre and unexpected new ways.

Last week Lyn Gardner’s press ticket for the new Cirque Du Solei show ‘Ovo’ was withdrawn after her one star review of a previous show. The Guardian paid £73 for a ticket and sent another critic along to get a second opinion. Madness. Nowadays, theatre criticism is on the decline: it is an artisanal industry in a technological age. 

Yesterday, news broke that the publicist for the Bridge Theatre, London run of Julius Caesar sent an email by accident, intended for directors Nicholas Hytner and Nick Starr regarding press seat allocations for the opening of that show, to fifty critics and bloggers. The attachment showed how many tickets each critic had been allocated and which seats they were to be sat in. Hytner hit reply-all, so everyone saw. Writing from his iPhone: “Prominent critics should be all be in A 6-19, B 6-18 or in A or B 56-69. Under no circs use AA or B.B. tickets for important critics.”

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It’s certainly an old school way to press. Looking at the eye-wateringly lame list of invited ‘prominent’ critics and traditional publications (Catholic Herald anyone?) and the fact that this is a major press campaign for a major new production at Hytner and Starr’s 900-seat venue – their new commercial operation near to Tower Bridge – it raises a lot of questions. It’s also true that everyone involved could do with a kick up the arse.

N.B. Credit where it is due: the ticket prices, range from £15 to £65, which are reasonable by today’s standards.

Beyond the usual ebb and flow of shifting theatre allegiances, there has yet to be an instance of bloggers successfully being held in the same regard as traditional print critics, but they have increasingly found power in numbers.

It’s bad news for critic notebook sales, but social media is now at the heart, or the end, of all these exchanges. Perhaps a full-on, real-life siege is how all PR and blogger relationships should reach their conclusion. It would certainly be a strong test of commitment – on both sides.

This is worth getting one’s theatre knickers in a twist about, though, and it is important that the Bridge sit up and take note, which it has, unless the whole thing was a double bluff aimed solely at securing Julius Caesar some column inches. It has been interesting how gleefully the Bridge’s shortcomings have been reported, following the lukewarm reception of Young Marx too. It is an irresistible narrative: Sir Nick Hytner, the consummate theatrical mogul, has made a mistake.

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Every time something goes wrong in the world of theatre, mrcarlwoodward.com gets stronger. I started the website 2 years ago with a blog by asking playwright Mark Ravenhill what his favourite emoji was (‘The winky one’) and it evolved from there; but considering how notorious the site’s become at a point when mainstream criticism is more or less dead, it’s exciting to think about what might happen next.

Anyone can start a blog and diverse voices are crucial to the conversation. Traditional reviews are so often just the start of that conversation and the opportunity bloggers can offer for long-form engagement with all theatre should be celebrated, not ignored.

Until then I’m finding new ways to adapt the spirit of the site – I’ve just launched a new fortnightly theatre podcast: COMMIT NO NUISANCE with critic Mark Shenton, and I recently ‘interviewed’ the cat from Michael Grandage’s forthcoming production of Lieutenant of Inishmore.

Julius Caesar is at the Bridge, London, until 15 April. Box office: 0843-208 1846

 

CLICK HERE TO LISTEN TO EPISODE 1 OF COMMIT NO NUISANCE

Shows discussed: The Band, Everybody’s Talking About Jamie, Girl From the North Country, Joseph & the Amazing Technicolour Dreamcoat (at Brentwood Leisure Centre) Witness For The Prosecution & Pal Joey.

Theatre podcast by Mark Shenton & Carl Woodward

Commit No Nuisance

Commit No Nuisance

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Interview with the cat from ‘The Lieutenant of Inishmore’

Michael Grandage will direct The Lieutenant of Inishmore by Martin McDonagh.

The PR campaign kicked off this week with bold artwork, which features Aidan Turner in a vest – holding a cat. The star of the show is undoubtedly the unassuming cat whose bloody paws hint at the pitch-black comedy within McDonagh’s play.

I caught up with cat earlier this week to find out how his involvement came about.

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Hello cat! How are you?

Fine, thank you.

How did you come to be on the The Lieutenant of Inishmore publicity material?

Right place, right time! I was on a night out with friends at The Ivy Club and after a few drinks I needed to pee, so went to the bathroom and bumped into Cameron Mackintosh who said he was looking for a cat for his latest venture with Michael Grandage. The rest is history. I couldn’t believe it when I got the call saying I was going to be part of the production.

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Aidan Turner

Why do actors pose like Aidan Turner has in your recent publicity shot? Is it because their talent isn’t apparent?

Ha! I think it comes from all those years of rejection. When one becomes a household name such as Aidan their ego can become inflated. I tend to keep myself to myself most of the time… I don’t think Aidan even realised I was a huge Poldark fan but he was very humble. I hope he keeps his shirt on during rehearsals.

Did you have any concerns about appearing in your winter coat?

I may be a bit chunkier than the average feline but I’m proud of how I look. And when you consider what I might have been wearing instead — a pair of boots for instance — I think it’s turned out fine.

The Lieutenant of Inishmore is arriving after *another* James Graham play. Have you seen Quiz?

I saw QUIZ at Chichester… I think it’s a good play. I guess after the huge success of Labour of Love, James is in a really different place to where he was before — Ink was such a sophisticated play too, though, know what I mean? It pushed Graham to the theatre a-list and Quiz feels a bit like *another* crossover into the mainstream. I guess James’ profile and the momentum of his amazing 2017 will make it a massive hit anyway, but I’m kind of glad this is the last James Graham play on St. Martin’s Lane for a while. I’d really like to see an Andrew Lloyd Webber musical in there. Perhaps Aspects of Love?

The full, all-Irish cast of The Lieutenant of Inishmore was announced earlier this week. Press night should be a laugh.

Yes, my agent called to tell me the news; I think it is a real top-notch cast. I am quite nervous at the prospect of starring in Aidan Turner’s West End debut.

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Aidan Turner and cat

Will you have stunt-double puppets for the gorier elements of the play?

No. I do all my own stunts.

So, what do you make of Aidan Turner swapping Poldark for a serious play?

I think it’s great. I don’t know him very well — that photo was the first time we met, and he didn’t say much to me — think he’s a great talent. Can you imagine the calibre of the projects and collaborators he’s been offered post-Poldark?

When you say he didn’t say much to you, what do you mean?

Well he didn’t say anything to me to be honest. He just stroked me occasionally.

Maybe he has allergies.

What are your plans for the rest of 2018?

Well Nick Hytner has been in touch, I might do a few adverts. But while I’ve enjoyed my brush with fame I think I’ll just keep a low profile. I’ll probably travel a bit.

The Lieutenant of Inishmore  runs at the Noël Coward Theatre from 4 July until 8 September with previews from 23 June.

CLICK HERE TO LISTEN TO EPISODE 1 OF COMMIT NO NUISANCE a new theatre podcast by Mark Shenton and Carl Woodward

Shows discussed in Episode 1: The Band, Everybody’s Talking About Jamie, Girl From the North Country, Joseph & the Amazing Technicolour Dreamcoat (at Brentwood Leisure Centre) Witness For The Prosecution & Pal Joey.

Theatre podcast by Mark Shenton & Carl Woodward

Commit No Nuisance

Commit No Nuisance

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Louis Maskell, interview: “The Grinning Man has an almost Tim Burton spikiness to it… Like a really intense experience at a nightclub.”

The lead role in The Grinning Man, Bristol Old Vic’s blockbuster, is the big break Louis Maskell was waiting for. The modest actor explains why he wants to act for ever.

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Louis Maskell as Grinpayne

Based on the Victor Hugo (Les Mis) novel and cult silent movie ‘The Man Who Laughs’, this macabre musical fairy-tale features ingenious puppetry and a perfect marriage of the alternative and the discordant mainstream. As well as being expertly written the majority of the songs are skilfully structured. How would he describe the show? “People have a preconceived of Victor Hugo novels; they immediately think it’s going to be long and dark and sombre,” Maskell says.

 

“This piece has elements of that but it is incredibly funny. The best way is to describe it is that it has got humour and an incredibly touching narrative at its heart, it has an almost Tim Burton spikiness to it,” says Maskell. “New British musicals like The Grinning Man and Everyody’s Talking About Jamie deserve attention – dare to see them, I promise you that you won’t be disappointed,” he says sweetly.

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The Grinning Man is directed by Tom Morris (War Horse) – Maskell has nothing but love for his director. “Tom is a genuinely incredible director, it doesn’t surprise me he is artistic director of a theatre like Bristol Old Vic, because he is such a keen builder,” Maskell says.

“Tom rarely ever gets annoyed and his rehearsal room is very collaborative – we have revised the show and then organically created the piece with our new cast members and in turn created a new family of grinning men and women,” he adds.  

 

On the topic of regional theatre, he is full of praise for the risk-taking happening outside of the capital. “The only way that you can create really good and dynamic musical theatre or plays is by going down the regional theatre road – because in the west end you rarely get anyone putting on a new production; the best theatre is in the regions – all of these really good regional theatres like Sheffield, Leicester Curve and Chichester Festival Theatre, deserve a lot of praise.”

I saw the original production of The Grinning Man at Bristol Old Vic and attended a preview recently. I was struck by how young the audience were, the enthusiasm and affection for the show was palpable. Has he noticed this? “I was very intrigued as to what kind of audience we were going to get but what we’ve found is there is a real hunger from a younger audience for this particular piece. I think it’s because the show feels almost like a really intense experience at a nightclub – it’s got that kind of energy to it,” says Maskell.

 

He trained at Guilford School of Acting, how important was his time there, I ask. “Massively – it gave me the base for what I do now – it gave me lots of skills to build upon,” he says. “I remember when I first graduated, I found it difficult to crack getting that first job… I did everything that I did at Guilford every day. So, I would warm up and work on my voice and the more I did that the better I became. I found more confidence and I got more jobs. Guilford gave me lessons to implement outside of college.”

 

What are his favourite musicals? “The shows that I’ve done are the ones that I was obsessed with growing up: My Fair Lady, West Side Story and Fiddler on The Roof. I think Hamilton is an absolute beast… I’ve got quite an eclectic taste,” Maskell says, with a laugh.  

Maskell’s star is in the ascendant. I ask him how he would best sum up 2017. “I’d describe it as a year in which a lot of dreams became a reality,” Maskell says.

Louis is taking it all in his stride. “I’ve got my feet on the ground; being a leading role in a show in London is something that I’ve always aspired to do. To be here doing a new musical is something that I never envisaged achieving; I’m embracing every moment because everything will end at some point,” he says. 

He adds: “Once you’ve achieved a goal you’ve then got to set new goals – I know that I need to now work even harder I love musical theatre. I want to act forever.”

The Grinning Man runs at Trafalgar Studios, London.

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A coda

Coverage of Ramin Gray story in MSM

Yesterday I published my interview with Artistic Director of ATC Ramin Gray. 

You can read our chat here: 

https://www.shwetas11.sg-host.com//interview/atcs-ramin-gray-i-think-the-search-for-who-is-the-weinstein-of-british-theatre-is-an-honourable-search/

Following the publication of the blog, I was approached by a number of women expressing concerns.
I’ve passed on the concerns in confidence to the appropriate people involved with Cornershop PR (who initiated and facilitated the interview) so that they can look into them if necessary.

I did think about whether I should take the blog down but because of the content I think that it should stay up. I take this extremely seriously.
Sexual harassment and bullying are not acceptable.
If anybody wants to speak to me they can contact me on the email below in confidence. <
E: mrcarlwoodward@gmail.com

If an Equity member has concerns, please contact them below. The union has specialist organisers covering the different aspects of the industry, such as TV and Theatre, so please identify the area of work you wish to discuss and you will be directed to the correct person.

Equity main switchboard: 020 7379 6000

Scotland and N. Ireland office: 0141 248 2472 

Wales office: 029 2039 7971

Manchester office: 0161 244 5995

For more information on Equity’s recent statement on this topic please click here. 

COVERAGE OF THIS STORY IN MAINSTREAM MEDIA:

Coverage of Ramin Gray story in MSM

Coverage of Ramin Gray story

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Young Frankenstein: do we all make our own monsters?

The gender roles in Young Frankenstein raise huge questions around our own collusion as audiences and Mel Brooks’ musical comedy starring Ross Noble, Hadley Fraser, Summer Strallen and Lesley Joseph is ruffling feathers.

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The background is that, in Natasha Tripney’s two-star review for The Stage she makes her case very pertinently about how certain attitudes towards women feed in to a culture that is damaging to women. “You could argue that I’m taking things too seriously, that this show is basically benign and just out to make its audience laugh, but this stuff matters. It adds up. It contributes to a culture in which men in positions of power, movie producers say, can treat women like they exist solely for their titillation and amusement. It’s damaging – and it’s just not funny anymore.

Similarly, Alice Saville wrote a piece for Exeunt (Let’s not forget that Tripney co-founded Exeunt) examining mass culture and sexism within the industry, but misses a trick of weighing the best of the present against the worst of the past. Saville too seems to think that the Guardian’s Chief Theatre critic is conspiring against women: “If the most common way to deal with women who call out sexism and harassment is silence, a close second is this time-honoured strategy of casting people who object to rape jokes and sexism as humourless. Michael Billington’s Guardian review seems to do so, too, albeit in a weird coded way – “This may not be a show for sensitive souls whose idea of a jolly evening is sitting at home reading Walter Pater. For the rest of us, who cherish popular theatre’s roots in laughter and song, it offers two-and-a-half hours of time-suspending pleasure.”

Good grief.

This recurring debate speaks volumes – and prompts this writer’s irony-meter to explode – especially when Young Frankenstein is a musical from a lost vaudevillian universe where the women were leggy and offence was given (and taken) in the spirit it was intended. This all happened in a time pre ‘Trial By Social Media.’

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Can the imagery of gender stereotypes, now so deeply carved on our brains, prevent us from looking beyond the roles assigned to us? I found the elements in question to be a subversive use of entertainment as a means of consciousness-raising. This show is portraying a period, with humour and accuracy.

I felt uncomfortable at times. But isn’t that the point?

Post-Weinstein, I was hyper-aware about my own gaze at the females on stage; but the performances in question here are very funny and subtly ridiculing that.

Even when Hadley Fraser lecherously embraces his fiancé and she pushes his tongue back into his mouth, singing ‘Please Don’t Touch Me’ – I couldn’t but applaud what in other hands might seem tasteless. It could be argued that the show is an inappropriate artefact and should be *at the very least* seriously reconstructed or consigned to the archives. Or, how about not watching it?

Amid the frenzy, we should also pause to remember the Mel Brooks’ heyday as a filmmaker was in the 1960s and 1970s, when sociopath Richard Nixon was in office. Brooks is one of the greatest comedians of the twentieth century whose work is slapstick, irreverent and certainly not polemic.

It’s true that some genres, such as comedy, have thrived on dementedly sexualised and explicitly demeaning imagery of leggy women and ‘funny-sexy’ for decades, but this old-fashioned approach should not represent a line being crossed. I think it’s slightly naïve to beat up the past with the stick of the present.

We know now that sex and sexuality is always going to be part of theatre, and always should be.

But that’s not to say it’s all plain sailing…

After the show I asked ten humans, who identified as female, whether they found anything in Young Frankenstein to be a) offensive or b) misogynistic. Interestingly, they all said no. One woman told me: “I am actually pretty sick and tired of all this right-on idiocy. I have three daughters and I have raised them as independent women. We have loved every minute of it.”

Another woman that I was sat next to told me: “I didn’t want a female Doctor Who – but here we are. I don’t need approval from anybody to enjoy the theatre, I don’t read reviews because the writers often bring their own agenda.”

Nevertheless, just because the ten women did not have a problem with the content of the musical as a misogyny-fest does not mean that no female humans will have a problem with the representation of women on stage.

If a lost British musical was unearthed tomorrow featuring a cartoon monster raping a woman in a cave as a term of abuse, would Cameron Mackintosh commission it, or would he censor it? He’d censor it.

Perhaps there should have been a 2017 sensibility to Young Frankenstein, in much the same way that racist elements are removed from repeats of 1970’s sitcoms on daytime TV. Arguments that “they’ve been playing it uncensored for decades” are irrelevant: society moves on, which is why slavery is a crime, marriage is equal, homosexuality is not a crime and why women are allowed to vote.

Obviously, the history of patriarchy is extensive and entrenched. So, do we remake these stories and tell them differently if we are going to change our own culture and its attitudes towards women? Progress on justice for women is slow, but it’s happening. Young Frankenstein has been directed with aplomb by Broadway’s finest director-choreographer, Susan Stroman. What’s that? A female director, in the West End.

Whether it is cynical, misogynistic, artistic, all three or none, perhaps this will prove a cultural blip, a peculiar aberration like the huge success of the Take That musical: The Band that theatre fans in the future will look back on as nothing more than a snapshot of pop culture in 2017.

But it is hard not to feel that in 2077, people are more likely to look back on the fuss around Young Frankenstein in the way we now regard the reaction, 50 years ago, to the uproar of ‘Springtime for Hitler’ featuring goose-stepping chorus girls and choreographed swastikas: as rather quaint.

I salute Young Frankenstein for sticking a bonfire under good taste and scorching political correctness. Theatre is full of surprises. All we can do, as audiences, is say it how we see it and respond accordingly because there’s nothing more miserable than silence.

We all make our own monsters and I don’t think that anybody associated with Young Frankenstein is one.

Anyway, there is something rotten in the world if you need approval to laugh at a Mel Brooks musical.

Go and see it for yourself.

N.B. I am, though, still upset that there wasn’t a gay bar in Transylvania.

Young Frankenstein runs at the Garrick Theatre until September 2018.

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UK Theatre Awards 2017: A blow by blow account

12.30pm I arrive at the Guildhall, London and head for the drinks reception in the Crypts. It’s quite posh. I have a glass of champagne and bump into theatre critic Mark Shenton. “Hello! I’m surprised you managed to fit this in between all your meetings,” he says, laughing. We have a quick gossip.

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Mark Shenton

12.45pm I mingle and bump into critics Lyn Gardner and Fiona Mountford, which is nice. “What on earth are you doing here!?,” Lyn says. I wouldn’t miss it for the world – congratulations, Mrs. I say. Bless.

12.55pm A man from Scottish Ballet asks me to take his photo around forty times – because the lighting is not flattering. I oblige. Great days.

1.00pm Everyone is having lunch. Here is the menu.

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(I was afforded a cheese roll, a banana and a Kit Kat. Beggars can’t be choosers.

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Guildhall, City of London: The Great Hall.

1.30pm The guy from Scottish Ballet appears. “I need somewhere to throw up my gum,” he says to me and the chap from UK Theatre. Words fail me. I suggest a bin around the corner.

2.00pm It’s starting. I think.

2.05pm Oh here comes Gemma Bodinetz who has won the Best Director award for artistic directorship of Liverpool Everyman and Playhouse’s new repertory season. “I’m looking forward to the whole thing now: I can get drunk,” she says. Amazing.

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Gemma Bodinetz

2.08pm “Yayyy Gemma!” Shrinking violet Sam Hodges is gate crashing my interview, which is a bit annoying. Oh well, he’s charismatic.

2.14pm Anyway, why is today so important to Gemma? “I’m absolutely thrilled…  It’s taken me 14 years to win this award. It’s a very important thing for us as an organisation,” she states.

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Samuel Hodges chatting away

2.16pm Let’s have a quick chat with Nuffield Southampton Theatres Sam Hodges then. He has just picked up the Renee Stepham Award for Best Presentation of Touring Theatre for Roald Dahl’s Fantastic Mr Fox. Why is today so important for him and this production, I ask. “It’s a massive deal; it was a glorious show. We’d never done anything on this scale and arguably we shouldn’t have – luckily our board backed this decision fully and this is the icing on the cake,” he says, smiling.

2.18pm I lose the thread of what’s going on and before I know it along comes actor Joseph Millson who has won Best Performance in a Play. What is it about regional theatre that is sexy? “I am hugely devoted to the supporting of local and regional theatres; it saved my life when I grew up in the middle of nowhere,” he says. “Even if it hadn’t doesn’t make you an actor – it gives young people such an independence.” He continues. “There’s something so individual and so much expression. If everyone just bought one ticket a year at their local theatre then everybody could reap the benefits.”

2.25pm I have a glass of white wine. 7/10.

2.30pm Sharon Duncan-Brewster has deservedly won Best Supporting Performance for A Streetcar Named Desire at Manchester’s Royal Exchange Theatre. “A lot of people do not venture out to do any work outside of London, so when I was asked to be in Streetcar I thought the only role I could play is the negro woman,” she says, candidly. What does this win mean to her? “Every city or town that I go perform in, there are people who look like me in the theatre and its time they saw themselves represented on stage,” she says. “I would love to see more of the amazing diverse work happening out in regional theatre coming into London,” she pauses and has a little cry. We have a hug.

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Sharon Duncan-Brewster

2.41pm I run to the toilet and bump into West End Producer Nica Burns(!) She looks fierce in a white gown- I am too scared to talk to her, which is a shame.

2.45pm Best Touring Production went to The Who’s Tommy, which was co-produced by New Wolsey Theatre Ipswich and Ramps on the Moon. The two organisations also received the award for Promotion of Diversity for their groundbreaking work in the inclusion and integration of deaf and disabled individuals. Here comes the Former Artistic Director of Theatre Royal Stratford East, Kerry Michael. What more needs to be done on the diversity front, going forward? “We need continue making inclusive show because they are so exciting – we’ve got to keep winning awards which aren’t just about inclusion but are about high-quality art,” he replies. Indeed.

3.00pm There is a break. Everyone has a chat, dessert and more wine.

3.25pm Sheffield Theatres’ production of Everybody’s Talking About Jamie, which will open at London’s Apollo Theatre in November, wins Best Musical Production. John McCrea, who plays the eponymous role of Jamie, won the award for Best Performance in a Musical. Here come the boys.

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Everybody’s Talking About Jamie lads

3.30pm I have a quick photo with John McCrea who is wearing a rather fetching scarf indoors. ‘Trendy’.

3.34pm Personality vortex Freddie Fox appears with Playwright Sir David Hare. Hare is the recipient of the Gielgud Award for Excellence in the Dramatic Arts from The Shakespeare Guild. We have a photo (I’m really very shy) and I collar Freddie for a chat. “Stories need to be told everywhere all over the country and the world. Not just London. It’s a chance to be heard and seen and celebrated – it clearly means an awful lot to many people,” he says.

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Freddie Fox and Sir David Hare

3.40pm I decide to have another glass of wine. ‘Lol’.

4.00pm Lyn Gardner is this year’s recipient of the Outstanding Contribution to British Theatre award and so actual Emma Rice is here to introduce her. That’s pretty amazing. The whole thing feels quite exciting now.

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4.03pm “A critic being honoured by the theatre industry? John Osborne once suggested most of you are supposed to feel towards people like me the way: “a lamp-post feels about dogs.”” Gardner says, which gets a big laugh. She continues. “If you want to see theatre’s future, then get on a train.” The whole place erupts into applause. Inspirational.

4.10pm Lyn Gardner walks up to me clutching her award. I ask her how would she describe her state of mind? “Discombobulated,” she says. Why is this annual event so significant for the sector, I enquire. “Quite simply, too often regional theatre is not as celebrated as it should be. Regional theatre is a thing in itself – it is not simply a training ground or somewhere where people begin their careers until they move to London. It’s where the vast majority of the population live,” she says, emphatically. She’s got a point. Also, Surely she should get an OBE soon – Billington has one.

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Emma Rice and Lyn Gardner

4.12pm Emma Rice looks uncomfortable and our eyes meet. As someone who is moving forward with a regional company (Wise Children), why do you think regional theatre should be celebrated, I ask quickly. She smiles, enigmaticly. “At Kneehigh – we lived by the Joan Miró quote “To be universal, you also have to be local” – you find communities with stories to tell and friends that they want to tell them with. That’s integrity and that’s the real deal,” she says.

4.15pm What a day. The ceremony concludes and I go and find somewhere to eat a burger.

The end.

Find out more about UK Theatre at UKTheatre.org

UK THEATRE AWARDS 2017 WINNERS

The Renee Stepham Award For Best Presentation Of Touring Theatre

Nuffield Southampton Theatres for the world premiere touring musical production of Roald Dahl’s Fantastic Mr Fox

Best Show for Children and Young People

The Snow Queen, New Vic Theatre

Best Director

Gemma Bodinetz, Liverpool Everyman and Playhouse new repertory season

Best Touring Production

The Who’s Tommy, New Wolsey Theatre and Ramps on the Moon

Best Supporting Performance

Sharon Duncan-Brewster, A Streetcar Named Desire, Royal Exchange Theatre

Best Performance in a Play

Joseph Millson, The Rover, Royal Shakespeare Company

Best New Play

Narvik by Lizzie Nunnery

Theatre Employee Of The Year

Jane Claire, English Touring Theatre and Liz Leck, Birmingham Hippodrome Theatre Trust

Clothworkers’ Theatre Award

Derby Theatre

Best Design

Jon Bausor, The Grinning Man, Bristol Old Vic

Achievement in Dance

Scottish Ballet for the European premiere of Crystal Pite’s striking one-act ballet Emergence

Promotion of Diversity

New Wolsey Theatre and Ramps on the Moon for their groundbreaking work in the inclusion and integration of deaf and disabled individuals

Achievement in Opera

Scottish Opera, Pelléas And Mélisande

Gielgud Award

David Hare

Best Performance in a Musical

John McCrea, Everybody’s Talking About Jamie, Sheffield Theatres

Best Musical Production

Everybody’s Talking About Jamie, Sheffield Theatres

UK’s Most Welcoming Theatre 2017 with Smooth Radio

The Mill at Sonning

Achievement in Marketing/Audience Development

Scottish Ballet for its Digital Season in April 2017

Outstanding Contribution To British Theatre 2017

Lyn Gardner

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Playwright, Elinor Cook interview: “If the dudes are pitching great plays — then those of us who aren’t the white men need go in there and nail those commissions.”

Elinor Cook is not some no-frills interviewee. My time with the feisty young playwright involved her batting my base level questions politely, while occasionally pouring herself a glass of water.

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Elinor Cook

Not having arrived today with any sort of agenda, we simply had a chat. She tells me that yesterday she had an ‘impromptu Mexican dinner’ with the Lady From The Sea cast and Kwame Kwei-Armah to celebrate his recent appointment as Artistic Director of the Young Vic. ‘FYI’ she had pan-seared tuna tacos and a beer… And a margarita. “Two drinks — Mexican appropriate,” she says, laughing.

Her new version of The Lady From The Sea, directed by Kwei-Armah opens at the Donmar tonight. Ibsen’s play encompasses those familiar Ibsen themes: obligation, accountability, the role of women and how the past impinges on the future. How has she found adapting such a classic text? “I’ve found it a complete joy,” says Cook. “I’ve loved it and I definitely want to do more of this sort of thing because there is something about having the map in place. It’s gone through a couple of permutations in terms of the setting of it. The first draft was all set contemporary, in time of the second draft we had a conversation and decided it would be more helpful to make it post-colonial and that mirroring Ellida’s own restless and need to be independent herself.”

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The Lady From The Sea at The Donmar Warehouse

Cook is revelling the opportunity to work with the new Artistic Director of the Young Vic. “He has this ability to facilitate an incredibly open rehearsal room,” she says, smiling. “He’s able to make people trust him and each other. There’s a beautiful lightness and airiness with the work and with what is happening on stage and it’s all there because of his attention to detail. He’s really big on psychology and emotion and my God you can really see that. It’s just extraordinary. He’s incredibly generous and honest.”

Every Playwright has a unique approach to writing. Where does she work best? “I work in the library – I go to the Wellcome Collection Library, which I’d highly recommend as a place to work,” she says. “I try and do a full work day because I need the structure and just to have other people around. It’s nice to feel that you are part of something.”

We talk about the lack of female writers on our biggest stages. “You can’t ignore that conversation because everyone’s having it”, she shrugs when I suggest that the scenario is not exactly ideal. “It does anger me, but I’m reluctant to go: ‘The reason it’s taken me 10 years is because I am a woman.’ However, I am conscious of the fact that I am white, privileged and straight. I think it’s more about how you get into those rooms in the first place.”

Not, she hastens to add, that she’s had it easy. “As someone who’s had every opportunity, but struggled so much with confidence for a long time and that feeling that I didn’t know how to hold my own in the room the way my male counterparts did. I wrestled with the feeling that at any second I’d be chucked out because I had nothing of interest to say.”

How can we ensure a real shift toward gender equality? “It starts before the theatres are making those decisions,” she says.

“If the dudes are pitching great plays — then those of us who aren’t the white men need to make sure that we are enabled to go in there and nail those commissions. There are so many reasons why I would struggle to pitch something and if I find it hard then how hard would those who hadn’t had those privileges and opportunities to get on?”

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Out of Love – Paines Plough

Does she feel obliged to write about politics, I ask. “The whole gesture of playwriting is political in itself,” she states. “With a play like Out of Love, I wanted to write something very human, getting to the complexity of the relationship between two women. I wanted to excavate something that I hoped would touch people on a human level. If you succeed with something like that then you are asking the audience for their imagination and empathy. In this increasingly fractured world, where the divisions are widening, if we are not able to imagine what it’s like to be in someone else’s shoes then we are kind of doomed.”

She continues: “A political play doesn’t have to be one set in the House of Commons, it can be perceived to be a smaller beast. My play Image of An Unknown Woman is my most overtly political play because it directly critiques a repressive regime and questions democracy. But I’d argue that Pilgrims or Out of Love, which are smaller in scale are political in a different way.”

Cook talks of the lucky opportunities that have come her way and in particular the pace at which she has progressed. “There’s something about being the age I am now and my career taking off that feels really right. I’m not sure I would have been prepared for the opportunities had I been younger… I was so crippled with a lack of self-confidence and self-consciousness… It was challenging.”

And now, following a storming debut at Edinburgh Fringe Festival, Out of Love is on tour as part of Paines Plough’s pop-up space, the Roundabout. The play is a comic exploration of female friendship spanning 30 years. What are the challenges of writing for such a unique performance space? “When you are writing for Roundabout the work has to have a universality to it – it has to have something that is going to resonate in Poole and in Stoke and in Darlington or Edinburgh,” she says. “There is something about that space; being in the round and with no props. It demands a particular kind of playwriting, it has to be very front-footed. It has to be very clear about what it is from very early on.”

She looks to Tamara Harvey, Amelia Sears and Charlotte Gwinner, particularly at the start of her career, for inspiration. “I’ve had really great relationships with directors. The first skill of a director if they read a draft and are able to help you as the writer really get to the nub of what you have to say.”

Today, she is honest about her commitments beyond The Lady From The Sea. “I’m at that glorious stage where I don’t know what the next project is,” she says, with a glint in her eye.

“I am looking forward to being able to see where my brain takes me and where the world takes me. I’d love to do more adapting and having written two very intimate plays with Pilgrims and Out Of Love, I’d love to go back to a bigger Image Of An Unknown Young Woman size cast and with international heft. But what that actually is I don’t know and that’s really exciting!”

The Lady From The Sea is at the Donmar, London, until 2 December. Box office: 0844 871 7624.

Out Of Love is currently on a UK Tour as part of Paines Plough’s pop-up theatre Roundabout.

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Review: Heisenberg: The Uncertainty Principle

Cometh the hour, cometh the show directed by Marianne Elliott, the inaugural show for Elliott & Harper Productions, the company she has set up with director Chris Harper.

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It’s fair to say that expectations were high… But as anyone will tell you in these difficult theatre times, coming up with the show can be the easy bit, and selling it is where things get tricky.

Simon Stephens’ play, first seen at Manhattan Theatre Club, is set at a London train station and tells the unusual story of two strangers who strike up a relationship as a result of the manic Georgie, played by Anne-Marie Duff hitting on Kenneth Cranham’s Alex, while he sits on a bench at St Pancras International. Cranham is spellbinding as a 75-year old butcher. His earthiness is shattered by the arrival of Georgie: 33 years his junior.

This is not your everyday sort of love story, but it winds up feeling both strange and familiar. Stephens’ complex two-hander is as much about romance and ulterior motives as it is about Werner Heisenberg’s physics theory.

Heisenberg is one of the plays of the year – a ninety-minute, intriguing production with the same captivating quality of true spectacle. The heart-breaking pairing of Duff and Cranham manages to encapsulate regret and hopefulness all at once.

Theatre sometimes revels brilliantly in its own meaninglessness. Other times, as here, it hits the spot when it stops being about nothing, turns its nose up at being about something, and fluently manages to be about everything. The questions it throws up about identity, attraction and love collide with a vastness that I’ve rarely experienced in a theatre.

Paule Constable’s gorgeous lighting glues style and substance together in an irresistible modern theatre collage. One of the most electrifying moments comes during an effortless scene transition with Duff trapped between the two walls. Thinking about it in the cold light of day, it all plays better in memory than in real-time. This is an accessible but immensely rewarding watch, and the music by Nils Frahm has an intriguing emotional reach that captures the sparse mood perfectly too.

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Ann-Marie Duff – amazing –

Other points are genuinely touching. But is that all there is to Heisenberg? Well, not quite –the duo’s chemistry will only flourish in enjoyable new directions as the production runs. There’s more to the writing and the performances than a first viewing might let on.

Not everything is sensational; Steven Hoggett’s movement sequences don’t always work. A section where the pair clumsily tango isn’t really that great. Intelligent choreography does more at the same time as it does less, making fewer things more impressive, making smaller statements count for more. When the choreography does hit the spot – it more than makes up for this.

Basically, Heisenberg doesn’t knock the planet off its axis quite as nimbly as theatre fans will have predicted. Maybe that was the point. On one hand, it’s not exactly Angels In America in the landmark stakes, on the other Elliott and Harper have come up with exciting ways to work in the West End and at least it isn’t Oscar Wilde.

Whether a prelude to an exclusion order or a heart-warming tale of encounter, Heisenberg is an extraordinary addition to Simon Stephens canon of recent experimental work; considerate and romantic enough for repeated viewing, but with a theatre sensibility that makes you want to head out in search of a stranger at a train station and live for the moment. Think of this as a controlled explosion.

At Wyndham’s, London, until 6 January. Box office: 0844-482 5120.

Access Booking 0344 482 5137.

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Playwright, David Eldridge interview: “There’s less procrastination when you’re a dad.”

As David Eldridge’s new play Beginning opens at the National Theatre’s Dorfman, he talks about his son, ticket prices, inspirations and success.

We meet in his office at Birkbeck University, London, where he lectures in Creative Writing. Chatting with Eldridge about his career opens up other windows on his experience. For instance: he’s a dad (“I always think about my son Bertie when I write, and he spurs me on”) For instance: despite having written landmark plays like Under The Blue Sky, Market Boy and In Basildon, he remains very grounded. (His best mate is a fireman in Essex, where he grew up). For instance: his new play Beginning was written unsolicited, but with the National Theatre in mind (“I wrote the play and then decided the NT would be a good home for it and sent it to Rufus Norris. Luckily for me he agreed”.)

His new play explores what it means to be lonely in a big city, features two actors and has no interval. “Beginning is a real actors’ piece,” says Eldridge emphatically. “The two characters in the play are on stage for the whole evening without a break. We were looking for people who didn’t just feel absolutely right in terms of the casting but who had the technical ability, personality and guts to do it. On-and-off that casting process took seven months, much of that due to director Polly Findlay’s availability, but we wanted to be absolutely sure.”

What are the particular pressures of writing for the National Theatre? “I’m not sure that applies to Beginning because it’s the first play I’ve written in ages that wasn’t a commission for a particular management,” he says. “I think opening a play in any of the major playhouses is incredibly stressful. On the Olivier stage at the National (where Market Boy was produced in 2006) just selling the 1,150 seats for every show used to give me nightmares. I think animating the larger stages at the NT is a craft in itself and both the Olivier and the Lyttleton eat story, so you need lots of narrative red meat and actors who are on the front foot.”

I wonder how he will measure success with Beginning. “I just want to feel happy that the play has gone as well as it possibly can and that audiences have got something out of it,” he states.

“It’s nice when you can see an audience laughing and crying and reflecting upon the action of a play. But it’s also very rewarding when audiences get in touch.” He references his play The Knot of the Heart, which premiered at the Almeida in 2011. “I kid you not, every day an audience member communicated with me in person, by letter, card, email or via social media to tell me how in some way their life had been touched by addiction. It was exhausting. But beautiful and humbling,” he recalls. “Everyone wants to have nice reviews for posterity and to help encourage audiences to see the show. But I’m much less neurotic about them than I was in my twenties.”

Which fellow writers inspire him, I ask? “Robert Holman has been one of the most inspiring playwrights in my writing life,” he replies, “Robert taught me how to be a playwright in many ways; but his own work, his sense of place, theatricality and commitment to the truth of his characters is always inspiring. Caryl Churchill, as Sarah Daniels says, is “our Picasso” and she seems to reinvent the wheel with every play. Her work always pushes me to try new things and to be bold. Edward Albee inspires me to fulfil John Osborne’s aspiration to give audiences “lessons in feeling”. And I learned a lot from adapting Ibsen. I think the work I did on three of his plays helped strengthen the storytelling in my own plays.”

He reckons that the economics of theatre tickets are out of line. “Theatre going has become too expensive. There’s also a part of me that’s still the slightly chip-on-shoulder, scholarship-and-assisted-place Romford kid at the posh school; who resents how much of British theatre is still occupied by privileged white middle-class men. I think the theatre has got a bit better on that score over my writing life, but it’s still a world that can be too dominated by clever posh white people and far too preoccupied with who’s in and who’s out,” he says bluntly. “It’s why I’ve always preferred to make most of my friends outside the theatre.”

We talk about the differences in writing for television. “On screen you’re cutting away to the next scene all the time and often the cut tells the story”, he explains. “On stage you’re trying to sustain the action. Too many scene changes, inelegantly done, make for a tiresome evening in the theatre. I think TV writing, like writing for a large theatre space, eats story and you really have to pique an audience’s interest the whole time. Otherwise people just switch off and look at their smartphone or change channel.”

On the bookshelf there are various framed photographs of his little boy. How has being a dad changed his writing? “You know,” he smiles. “It’s made me more uncompromising.”

But Eldridge is acutely aware of the legacy of putting pen to paper. “I always have this gut feeling that I never want him to read or see my work when he’s older and feel his dad could have done better. I push myself. Although he doesn’t live with me, we spend a lot of time together, and that means like most writers who are parents, I organise when I write accordingly and use the time much more efficiently. There’s less procrastination when you’re a dad.”

Beginning is at the National Theatre’s Dorfman stage, London, until 14 November. Box office: 020-7452 3000.

Polly Findlay and David Eldridge will take part in NT Platform on Thursday 19 Oct, 6pm.

Now you know.