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Post by Deleted on Sept 17, 2016 11:56:12 GMT
I have a ticket for the evening performance on Sat 1st Oct which I can't use - £10 front row stalls. PM me if you're interested - if no takers I'll return it
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Post by lynette on Sept 17, 2016 15:51:22 GMT
I notice from the programme that the understudies for Faustus and Mephistopheles are both women (Eleanor Wyld is one,can't remember the other). Does this mean that if either Grierson or Ryan is off, the other has to drop out as well? It would be pretty interesting gender-blind casting if not. Has it happened? Did anyone see the understudy run? Very intriguing, I would have thought. I didn't know this. But why would both have to be men or both women? With this production it would simply be yet another level of 'interest' to have one of each as it were. |
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Post by Jan on Sept 17, 2016 16:24:56 GMT
Jude Law was in this at the Young Vic wasn't he - I forgot about that one. It gets done more frequently than it deserves - would be nice to see "The Massacre at Paris" for a change.
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Post by Deleted on Sept 17, 2016 16:58:52 GMT
It gets done more frequently than it deserves - would be nice to see "The Massacre at Paris" for a change. The RSC is producing Dido, Queen of Carthage by Christopher Marlowe in the Swan in September and October next year, so that's a bit of a change? |
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Post by Jan on Sept 18, 2016 8:37:37 GMT
It gets done more frequently than it deserves - would be nice to see "The Massacre at Paris" for a change. The RSC is producing Dido, Queen of Carthage by Christopher Marlowe in the Swan in September and October next year, so that's a bit of a change? It was on at the NT not so long ago. I don't remember there ever being a production of "Massacre". |
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Post by Deleted on Sept 18, 2016 8:56:10 GMT
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Post by nobunaga on Sept 18, 2016 14:03:05 GMT
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Post by Deleted on Sept 18, 2016 21:59:01 GMT
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Post by Deleted on Sept 18, 2016 22:03:58 GMT
Marlowe Society is amateur, so maybe Rose said first professional?
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Post by Deleted on Sept 19, 2016 5:54:45 GMT
No, but I think I've worked out how they are telling the truth: the Rose says "The first run of Marlowe’s brutal and incendiary masterpiece to be staged in England in 400 years", the RSC production with Lindsay Duncan was on for two nights: "Performed in The Fortnight, the Fourth RSC/W H Smith Festival 14–27 October 1985. Venue, The Other Place. (2 performances)", so not a "run"! Also as it was only two performances I wonder if it was fully staged, or something along the lines of the Globe "Read not Dead" rehearsed readings?
There was a production in Canterbury too in March 2014, at the same time as the Rose production.
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Post by Deleted on Sept 19, 2016 8:32:47 GMT
I attended a couple of events in The Fortnight at The Other Place in October 1985. It was a fringe festival produced unofficially by the acting company in Stratford at the time, with Fiona Shaw as one of the driving forces (Les Liaisons Dangereuses had recently opened). So, none of it was produced by the RSC, or indeed by any other professional company - it was all done for love, and they put so much work into it. Even to the extent of The Other Place staff personally doing the catering for it. So much work went into that fortnight.
One of the major forces which motivated it was the recognition of the women actors that they were underused and sidelined in the company. I attended a talk by Sheila Rowbotham followed by a lengthy open discussion about women at the RSC and in theatre in general. Harriet Walter was there, having just opened as Skinner in The Castle for the RSC in The Pit, (which was a stupendous performance, sparring with Ian McDiarmid). The only contribution from the floor which countered the general mood came from Alan Rickman: "I was directed in a play by a woman once. (Pause). It wasn't a very good experience."
A question came from a young Stratford resident who often attended a number of RST previews and so got to understand the process of testing and revising in previews. He said that in the first preview of Measure for Measure Juliet Stevenson had delivered the final (?) speech as a direct challenge but that she never did so again at later performances. Juliet Stevenson replied that Yes she had wanted to do that and had done so at the first preview but that it hadn't been allowed to stay and so it had been dropped in all later performances.
As a result of this activity, these actors formed an official RSC Women's Group and the RSC agreed to commission a play from a woman playwright to be directed by a woman director and with a predominantly female cast, as the final production of this company's season, in The Pit. (In those days, it was standard for most of the Stratford season to transfer directly to the Barbican Centre, where some new productions were added to the transfers). This play was Heresies by Deborah Levy.
EDIT: I've just re-read xanderl's post and see that this was actually the Fourth RSC/WHS Festival, so obviously my recollection that it all sprang from the women's group is wrong. However, I still think that these festivals were an opportunity for members of the current RSC company to make their own work and show it for one or two performances. For example, I saw a play written by Margery Mason, another of those actors, and played by herself and various other actors from within the company.
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Post by Jan on Sept 19, 2016 9:02:57 GMT
An early example of Rickman in the audience there. Very good.
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Post by Deleted on Sept 20, 2016 5:27:32 GMT
I have a ticket for the evening performance on Sat 1st Oct which I can't use Now returned to RSC |
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Post by martin1965 on Sept 20, 2016 6:03:26 GMT
I saw Massacre in Paris at the Rose, whilst it was a bit rough round the edges, i thought it an imaginative staging. It would be great to see an "official" RSC production, and as rhey do seem to be working through the Marlowe canon, it may come to pass😄
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