RSC 2019

[Fleance]

Jun 22, 2019 19:55:14 GMT Jan said:

Jun 22, 2019 19:30:39 GMT Fleance said:

The Trevor Nunn (RSC at the Young Vic) production was quite powerful, particularly in the big scene between Claudio (Jason Durr) and Isabella (Clare Skinner).

I recall Angelo attacking her pinning her back on a psychiatrist’s couch. Did you see the famous Jonathan Miller production ? I would have loved to have seen it.

No, I didn't see the Miller production. The only other production of the play I've seen in the UK was a big production at the RSC/Stratford, directed by Stephen Pimlott. Great cast: Alex Jennings, Michael Feast, Stella Gonet, Toby Stephens, Caroline Blakiston, and what seemed like all the residents of Stratford as citizens of Vienna.

The production I regret missing was in Central Park in 1976, with Meryl Streep, though I did see Streep in Happy End the following year.

[theatremad]

Jun 22, 2019 20:34:20 GMT Fleance said:

Jun 22, 2019 19:55:14 GMT Jan said:

I recall Angelo attacking her pinning her back on a psychiatrist’s couch. Did you see the famous Jonathan Miller production ? I would have loved to have seen it.

No, I didn't see the Miller production. The only other production of the play I've seen in the UK was a big production at the RSC/Stratford, directed by Stephen Pimlott. Great cast: Alex Jennings, Michael Feast, Stella Gonet, Toby Stephens, Caroline Blakiston, and what seemed like all the residents of Stratford as citizens of Vienna.

The production I regret missing was in Central Park in 1976, with Meryl Streep, though I did see Streep in Happy End the following year.

Ah the glorious Steven Pimlott production. Still my favourite

[learfan]

Venice Preserved, pretty good, dont really think its the lost masterpiece some think it is. However its the kind of play the RSC should be doing.

[bordeaux]

Jun 22, 2019 22:17:29 GMT theatremad said:

Jun 22, 2019 20:34:20 GMT Fleance said:

No, I didn't see the Miller production. The only other production of the play I've seen in the UK was a big production at the RSC/Stratford, directed by Stephen Pimlott. Great cast: Alex Jennings, Michael Feast, Stella Gonet, Toby Stephens, Caroline Blakiston, and what seemed like all the residents of Stratford as citizens of Vienna.

The production I regret missing was in Central Park in 1976, with Meryl Streep, though I did see Streep in Happy End the following year.

Ah the glorious Steven Pimlott production. Still my favourite

Mine is the late 80s RSC version at the Barbican directed by Nicholas Hytner with Roger Allam as the Duke, John Shrapnel as Angelo, Josette Simon as Isabella and a brilliantly funny Alex Jennings as Lucio.  I'd happily see Hytner do a Shakespeare a year for the next few years at the Bridge - especially as my daughters are entering the age at which they'd really enjoy them.

[learfan]

Jun 23, 2019 8:58:19 GMT bordeaux said:

Jun 22, 2019 22:17:29 GMT theatremad said:

Ah the glorious Steven Pimlott production. Still my favourite

Mine is the late 80s RSC version at the Barbican directed by Nicholas Hytner with Roger Allam as the Duke, John Shrapnel as Angelo, Josette Simon as Isabella and a brilliantly funny Alex Jennings as Lucio.  I'd happily see Hytner do a Shakespeare a year for the next few years at the Bridge - especially as my daughters are entering the age at which they'd really enjoy them.

Saw that one, Jennings stole the show. When will we see his Lear, i wonder? Still nothing at the Bridge to make me go im afraid.

[David J]

2011 Roxanna Silbert production for me with Paul Chahidi as Lucio, Jodie McNee as Isabella, Jamie Ballard as Angelo and Raymond Coulthard, with his magic card tricks, as the duke

[Jan]

Jun 23, 2019 10:58:43 GMT learfan said:

Jun 23, 2019 8:58:19 GMT bordeaux said:

Mine is the late 80s RSC version at the Barbican directed by Nicholas Hytner with Roger Allam as the Duke, John Shrapnel as Angelo, Josette Simon as Isabella and a brilliantly funny Alex Jennings as Lucio.  I'd happily see Hytner do a Shakespeare a year for the next few years at the Bridge - especially as my daughters are entering the age at which they'd really enjoy them.

Saw that one, Jennings stole the show. When will we see his Lear, i wonder? Still nothing at the Bridge to make me go im afraid.

Jennings - agree. That production had an interesting design, they were wearing clothes, all consistent, with no historical precedent that I could see at all, so it was set in some sort of entirely imaginary world. I think the best M4M I’ve seen was the Almeida Anna Maxwell-Martin / Rory Kinnear one, but it is very rarely done badly.

[Fleance]

Jun 22, 2019 22:58:30 GMT learfan said:

Venice Preserved, pretty good, dont really think its the lost masterpiece some think it is. However its the kind of play the RSC should be doing.

There was a fine production of Venice Preserv'd at the National in 1984, with Ian McKellen, Michael Pennington, and Jane Lapotaire, directed by Peter Gill. The scenes between Hugh Paddick (Antonio) and Stephanie Beacham (Aquilina) were quite amusing. 

[Jan]

Jun 24, 2019 1:41:29 GMT Fleance said:

Jun 22, 2019 22:58:30 GMT learfan said:

Venice Preserved, pretty good, dont really think its the lost masterpiece some think it is. However its the kind of play the RSC should be doing.

There was a fine production of Venice Preserv'd at the National in 1984, with Ian McKellen, Michael Pennington, and Jane Lapotaire, directed by Peter Gill. The scenes between Hugh Paddick (Antonio) and Stephanie Beacham (Aquilina) were quite amusing. 

Given the high quality of the talent involved (Peter Gill excepted) I was a little disappointed by that production, I think the play does not live up to its reputation. 

[Fleance]

Jun 24, 2019 6:40:52 GMT Jan said:

Jun 24, 2019 1:41:29 GMT Fleance said:

There was a fine production of Venice Preserv'd at the National in 1984, with Ian McKellen, Michael Pennington, and Jane Lapotaire, directed by Peter Gill. The scenes between Hugh Paddick (Antonio) and Stephanie Beacham (Aquilina) were quite amusing. 

Given the high quality of the talent involved (Peter Gill excepted) I was a little disappointed by that production, I think the play does not live up to its reputation. 

In those more youthful days, I would often go to plays at the NT that I had never heard of, if I liked the cast. I had never heard of Venice Preserv'd and was quite excited by it. My job is sort of theater-related, and years later, I tried to work the play (unsuccessfully) into a project I was working on. Other plays I saw at the NT that I had never heard of but that thoroughly impressed me were Lorenzaccio, Martine, and The Mayor of Zalamea. I'll never forget the curtain going up on Martine: Wendy Morgan in the wheat field, with the most wonderful golden lighting.

[learfan]

Saw Measure for Measure today. Really good. Set in the early 1900s,mirrors on the wall upstage that turned to allow access. Lucy Phelps a revelation as Isabella, i havent seen her Rosalind but she is a potential star. Joseph Arkley and Claire Price continue their superb work in Shrew. Fast moving and clear production. Foyer and shop rammed, house full. Very much looking forward to the 2020 season announcement next month.

[lynette]

Venice Preserv’d - loved it. just what the RSC should be doing, as you say leafan. Can be described by that awful epithet ‘relevant’ without having it shoved down your throat. Great set, great music and well, the acting would have made Otway proud. The programme says he wrote the part of Belvidera for Mrs Barry one of the first actresses on the English stage. Well, Jodie McNee can give her a run for her money.
I am not one for violence (much 😁😁 ) but here it was really well done. Never seen better deaths than how they did them at the end. Much better than Titus Andronicus in regard to blood and so on to be honest but of course we are well post Shakespeare and the Civil War not far past in their minds. I think here the direction had that in mind. This was drama with hardly any redemption if any. The death of the friends offset by the horror of the death of Belvidera. Really good stuff.

It was half empty which was such a shame. I know Monday not a good day but apparently it hasn’t sold well. The reviews killed it I fear. With The Provoked Wife, a great double. I fear the empty seats might strike the management too chilly for further similar programming.

[lichtie]

Venice was half empty when I saw it on a weekend. I suspect it's more of a hard sell given the subject matter even before the reviews. Provoked Wife did better in that regard, but even it wasn't full when I saw it (again a weekend).

[Jan]

Aug 13, 2019 11:32:54 GMT lichtie said:

Venice was half empty when I saw it on a weekend. I suspect it's more of a hard sell given the subject matter even before the reviews. Provoked Wife did better in that regard, but even it wasn't full when I saw it (again a weekend).

Hard sell in Stratford. There’s an audience in London but of course there isn’t a suitable theatre for a transfer and they regard the London audience as a cash cow only so we only get their big dull Shakespeares (ironically at massive discounts).

[NeilVHughes]

It is a shame very few of the Swan productions make it to the Barbican, can only remember The Alchemist in the recent past and have rarely been disappointed with what I have seen in the Swan. On the positive side with the RST and Swan it’s easy to make a 3 play weekend on my quarterly visits to Bardsville.

Definitely missed a trick with The Rover loved it in the Swan and surprised Kunene and the King has not been transferred.

[lynette]

Aug 13, 2019 12:20:07 GMT Jan said:

Aug 13, 2019 11:32:54 GMT lichtie said:

Venice was half empty when I saw it on a weekend. I suspect it's more of a hard sell given the subject matter even before the reviews. Provoked Wife did better in that regard, but even it wasn't full when I saw it (again a weekend).

Hard sell in Stratford. There’s an audience in London but of course there isn’t a suitable theatre for a transfer and they regard the London audience as a cash cow only so we only get their big dull Shakespeares (ironically at massive discounts).

Why such a hard sell in Stratford? Lots of the ‘elite’ in the Midlands, you know.  I and I’m sure, you too , have been at plays with full houses when the play is obscure and ‘difficult’. I think it is more a case of ‘no sell’. I don't see a lot of real publicity out there, lots of printed pamphlets but where are they circulated and more needed on t’internet’ and frankly on the television. Those morning and late afternoon local magazine type progs could get the word out. And schools of course. They like the mainstream on the GCSE syllabus but this play in particular would be brilliant for A level guys - the post Willie refs were unending. I see it as a perception problem. 

[lichtie]

I've actually seen quite a lot of younger people on the cheap tickets in the Swan. So they're getting the message in part at least. Personally, I don't think their website is really up to scratch in terms of selling something obscure or new.

Clearly they can transfer some small venue things as well given that #WeAreArrested is getting a second life in London at the Arcola. Maybe there is scope for future collaboration there?

[lynette]

Yes, Arcola perfect for TheOtherPlace stuff.

[learfan]

Aug 13, 2019 12:20:07 GMT Jan said:

Aug 13, 2019 11:32:54 GMT lichtie said:

Venice was half empty when I saw it on a weekend. I suspect it's more of a hard sell given the subject matter even before the reviews. Provoked Wife did better in that regard, but even it wasn't full when I saw it (again a weekend).

Hard sell in Stratford. There’s an audience in London but of course there isn’t a suitable theatre for a transfer and they regard the London audience as a cash cow only so we only get their big dull Shakespeares (ironically at massive discounts).

It was undercast imo. Fairly unknown play, was always going to be a hard sell, but glad they did it.

[lynette]

Just seen Measure for Measure, the strongest of this season’s Shakespeares I think. Lovely setting in Vienna’s Belle Époque, pared back set, good use of sound and lighting, all what you would expect from GD. His interpretation of Isabella and the Duke at the end is in line with most of the productions I have ever seen. Useful that Shakespeare gives her no words at that end, such an eloquent character becomes quite dumb. Lucius clever interpretation, a flaneur, devoid of any morals at all in a story where you are hard pressed to find your way, find firm ground amid the deception.
This is today’s play, not only for the sexual theme but for the theme of justice and good governance. Bernadine is probably one of my favourite characters in all of Shakespeare. We are told he is a murderer, has served nine years ( which today would have him released I expect) and he simply defies authority, refuses to be executed.

[Deleted]

I went last weekend with Rush tickets for Venice Preserved and Measure for Measure. I really loved the first half of Venice Preserved, but then it seemed like a different play in the second half. Lots of characters seemed to disappear and I was a bit confused by the end. Overall though, I really liked it.

The people next to me hated it and left at the interval. They seemed quite put out by the trolley full of dildos.

I didn't enjoy Measure for Measure much. It isn't a play I know, and I got a bit bored and found myself looking at my watch. I thought some of the characters were quite panto, and I know that I never need to see another comedy idiot Shakespearean policeman getting his words muddled.

[Deleted]

Oh, and one thing I noticed - the programmes no longer have a list of all the plays, with the ones they've done greyed out. Interesting.

[lynette]

I expect there was a thing about the ‘policemen’ such as they were at the time, the ‘watch’ as it is called in Much Ado, that it was made fun of. Mr Plod, eh?

[bgarde]

I found Measure For Measure the most moving thing I've seen in a while - it will stay with me and gives quite a bit to think about after. Definitely my favourite of the RSC productions I've seen this year.

[Deleted]

Aug 23, 2019 20:59:08 GMT lynette said:

I expect there was a thing about the ‘policemen’ such as they were at the time, the ‘watch’ as it is called in Much Ado, that it was made fun of. Mr Plod, eh?

Didn't Shakespeare keep putting them in to keep Will Kemp happy?