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Post by londonpostie on Jun 14, 2023 17:27:02 GMT
You might say that I couldn't possibly comment, though the great man himself has plenty to say (in this clip and elsewhere) >> |
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Post by zahidf on Jun 15, 2023 9:29:59 GMT
Rufus Stepping down Spring 2025. New person in place end of the year
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Post by zahidf on Jun 15, 2023 9:31:32 GMT
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Post by londonpostie on Jun 15, 2023 9:53:31 GMT
I bet he was in his element revealing that lot.
Oyelowo is some film actor so very keen to see any stage work he does.
Michael Sheen going the full Welshie again .. tbh, I do hope he does Bevin justice and reigns it in here and there (a personal hero of moi)
Found Alexander Zeldin's work in the Dorfman pretty absorbing - particularly strong on dialogue.
Frecknal debuts in the Lyttleton .. almost inevitably, I guess.
Plus Harriet Walter - lovely, and Lindsay Duncan returns for the conservative commuter belt-ers.
New work, revivals, old faithfuls, and new stars, writing, directors ... he's covered a lot of bases, that's for sure. But who's going to be unhappy on social media ..
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Post by Dave B on Jun 15, 2023 9:59:37 GMT
Here's my quick ref for shows and dates. Lots to fill in. | Closing Time | National Theatre (Dorfman) | Sept 2023 | | The Confessions | National Theatre (Lyttelton) | Thursday, 19 October 2023 | | Infinite Life | National Theatre (Dorfman) | Nov 2023 | | Motive and the Cue | Noël Coward | Saturday, 9 December 2023 | | Kin | National Theatre (Lyttelton) | Jan 2024 | | Till the Stars Come Down | National Theatre (Dorfman) | Jan 2024 | | Dear Octopus | National Theatre (Lyttelton)
| Feb 2024 | | Nye | National Theatre (Olivier) | Feb 2024 | | Underdog: The Other Other Brontë | National Theatre (Dorfman) | Mar 2024 | | London Tide | National Theatre (Lyttelton) | Apr 2024 | | The Hot Wing King | National Theatre (Dorfman) | July 2024 | | Coriolanus | National Theatre (Olivier) | 2024 |
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Post by bordeaux on Jun 15, 2023 9:59:48 GMT
That is pretty damn impressive, I have to say. Sarah Frecknall, Michael Sheen, David Oyelowo, a relatively rarely performed Shakespeare, Lorca, Lindsey Duncan in an intriguing rediscovery, Harriet Walter, some possibly great new plays....including a Pulitzer winner
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Post by zahidf on Jun 15, 2023 10:04:37 GMT
looks like a super strong line up tbh
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Post by Steve on Jun 15, 2023 10:25:26 GMT
All that, and Alexander Zeldin!  |
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Post by mrnutz on Jun 15, 2023 10:43:44 GMT
After a dire few years the NT are absolutely smashing it at the moment.
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Post by Jon on Jun 15, 2023 11:00:39 GMT
I was surprised to learn that Dear Octopus hasn't been revived in 57 years.
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Post by andrew on Jun 15, 2023 11:16:47 GMT
Annie Baker is back!!!
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Post by max on Jun 15, 2023 11:18:09 GMT
Can you imagine the internet furore if Clint Dyer - with some directorial but no AD experience - doesn't now get it: can we really see a white person - male or female - being brought in above a black Deputy AD?
The Gov would have to set up a helpline for distraught white, middle-class, managerial / professional liberals.
Rubasingham, Dyer or, outside bet, Nadia Fall. Not all of whom fill me with joy. But Clint Dyer has hardly directed anything of note, it appears to me; just an Othello at the NT and a Roy Williams play. It's surprising to me that he is Deputy AD at all with that track record. To be AD you need lots of experience in directing the canon at a high level, plus new plays, with a bit of showmanship (an ability to direct the occasional hit that will transfer). Was the role of Deputy Artistic Director advertised? Perhaps it was - I don't remember. I have a real problem with public sector posts being invited rather than recruited. It doesn't matter how talented the recipient is - other talented people are also available and should have the opportunity to put themselves forward. |
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Post by bordeaux on Jun 15, 2023 11:20:08 GMT
I was surprised to learn that Dear Octopus hasn't been revived in 57 years. Potentially an interesting rediscovery - fascinating to read about the opening production on Wikipedia. Gielgud in the original cast. |
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Post by oxfordsimon on Jun 15, 2023 11:42:16 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me.
I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre.
Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again.
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Post by Jon on Jun 15, 2023 12:23:47 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing. |
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Post by Jan on Jun 15, 2023 12:28:34 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing. Luckily no one at all is saying the NT should only do revivals - not sure why you’ve even said that really ? |
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Post by zahidf on Jun 15, 2023 12:30:52 GMT
Up on the website Booking From midday, Tuesday 20 June Supporting Cast, Patron, Premier Patron, Benefactor & Olivier Circle Members, Young Patron Premium and Young Patron Ambassadors From midday, Thursday 22 June Priority, Priority Plus and Digital+ Members, and Young Patron Member and Young Patron Associates From midday, Monday 26 June Advance Members From midday, Friday 30 June Public booking www.nationaltheatre.org.uk/productions/death-of-england-closing-time/13 September — 11 November 2023 www.nationaltheatre.org.uk/productions/the-confessions/19 October — 4 November 2023 www.nationaltheatre.org.uk/productions/the-house-of-bernarda-alba/16 November 2023 — 6 January 2024 www.nationaltheatre.org.uk/productions/infinite-life/22 November 2023 — 13 January 2024 www.nationaltheatre.org.uk/productions/kin/12 — 27 January 2024 |
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Post by marob on Jun 15, 2023 12:52:34 GMT
I thought they’d already wrapped up Death of England with a TV special or something?
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Post by oxfordsimon on Jun 15, 2023 12:52:53 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Surely having new writing is a good thing not a bad thing, you'd be the first to complain if a NT season was all revivals and no new writing. You have absolutely no evidence for that assertion. You seem to take delight in misrepresenting my postings. Please desist. |
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Post by bordeaux on Jun 15, 2023 13:01:53 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Yes, on a closer look, there are only three revivals out of 12 announced shows: Coriolanus, The House of Bernarda Alba, Dear Octopus. A quick look at the National Theatre Story indicates that in the 90s and 2000s there were usually two-thirds revivals, more or less, and about a third new writing. Whilst I agree that this year's new plays at the NT have been excellent and some of next year's look very good too, I would like more of the classic repertoire to play a role in the next AD's programming. As I've said before the NT, the Royal Court, the Donmar, the Hampstead, the Almeida, the Bridge all seem to be chasing the same playwrights. |
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Post by andrew on Jun 15, 2023 13:23:55 GMT
Whilst this does look one of the strongest seasons under Norris, the balance is out for me. I know he is more into new writing than existing texts, but this is meaning that the resources of the National are not being brought to so many genres of theatre. Whoever replaces him has to deliver a more balanced programming ethos. Without that, plays that can only realistically be staged by a major subsidised company will not get professional productions ever again. Yes, on a closer look, there are only three revivals out of 12 announced shows: Coriolanus, The House of Bernarda Alba, Dear Octopus. A quick look at the National Theatre Story indicates that in the 90s and 2000s there were usually two-thirds revivals, more or less, and about a third new writing. Whilst I agree that this year's new plays at the NT have been excellent and some of next year's look very good too, I would like more of the classic repertoire to play a role in the next AD's programming. As I've said before the NT, the Royal Court, the Donmar, the Hampstead, the Almeida, the Bridge all seem to be chasing the same playwrights. We're back in the classic question of "what is a national theatre for?", and nobody quite agrees. I quite like the balance, having two or three prestige, big budget classics but the majority of stuff being new. I want a (sort of) subsidised entity to be doing stuff the commercial side struggles with, producing new and daring plays you wouldn't be able to get producers to put money up for. The new AD gets to pick I suppose, maybe the board will want the pendulum to swing back and choose someone very sympathetic to putting on the classics. I note they're still not going back to rep for the larger houses, the concept seems to be completely dead. |
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Post by oxfordsimon on Jun 15, 2023 14:04:55 GMT
I believe that the National Theatre should stage a mixed, balanced programme of plays and occasional musical.
This forthcoming season is 75% new writing which, I think, is doing a disservice to 'old writing'
Personally I would prefer a 60-40 split in favour of existing scripts (including new translations of classics not in English)
That would still give a good number of high profile opportunities for current writers but also give audiences the opportunity to encounter a fuller range of plays from all periods each season.
No commercial producer is going to do lavish productions of pieces like London Assurance and many others. So we absolutely need our National Theatre to reflect the full breadth of plays both old and new.
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Post by Dave B on Jun 15, 2023 14:09:46 GMT
Both Kin and The Confessions in the Lyttelton running for just two weeks. Very short runs for NT stages compared to recent times?
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Post by zahidf on Jun 15, 2023 14:10:42 GMT
I do think as long standards aren't slipping quality wise, the national should be doing more new writing than old.
Maybe invite new writers to adapt older plays as well for the modern day?
Some revivals are fine, but i could without another classic Shakespeare play at the national.
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Post by oxfordsimon on Jun 15, 2023 15:33:50 GMT
I do think as long standards aren't slipping quality wise, the national should be doing more new writing than old. Maybe invite new writers to adapt older plays as well for the modern day? Some revivals are fine, but i could without another classic Shakespeare play at the national. Given we have the RSC, I think there is an argument for not expecting the RNT to stage Shakespeare unless there is a compelling reason for doing otherwise. Of course, the RSC would possibly then need to return to bringing Shakespeare to London on a more regular basis. |
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