A Streetcar Named Desire (Donmar Warehouse, 12th September 2009)

The small Donmar auditorium was hot and felt steamy reflecting really well the atmosphere of the Tennessee Williams play, I’d come to see.  This was an excellent production.  I must admit, I was gripped all the way through and I agree with my of the critics that Rachel Weisz was a stellar performance.  I also felt that the other members of the cast did a really good job.  The stunning red dressing gown that Blanche wore seemed to represent the passion and contrast that she brought to a her sister’s house.  I felt really caught up in Blanche as an actress, playing her part well, but always feeling that she would be ‘found out’, that all this would not lead to a ‘good end’.  The dream sequences were extremely effective and I really felt Blanche’s sense of loss, as well as her guilt.  There was not attraction to Stanley.  He was a brutish man, but I did feel that at times he felt threatened by Blanche’s presence.

Previews and Reviews

 

Sunday Times on A Streetcar Named Desire
The Evening Standard on A Streetcar Named Desire
Times on A Streetcar Named Desire
WOS A Streetcar Named Desire
BBC on the reviews of A Streetcar Named Desire
A Streetcar Named Desire. Guardian Review
Official London Guide on A Streetcar Named Desire
Financial Times on A Streetcar Named Desire
Independent on Sunday on A Streetcare Named Desire
Independent on A Streetcar Named Desire
Observer – A Streetcar Named Desire
Telegraph on A Streetcar Named desire

To Twitter or not to Twitter

I thought I would have a go at tweeting when I attended the BSA (British Shakespeare Association) conference at King’s College London and the Globe Theatre in September.  I found it an interesting experience which raised some issues for me, particularly about the usefulness of Twitter.  Twitter is a micro blogging social network which presents an opportunity to post tweets of 140 characters to ‘Friends’.  Friends are not necessarily my friends, but other tweeters who follow me and read my tweets.  Some of  my ‘Friends’ I know and  I’ve met, some are organisations and others I may never ever meet in real life.

A Twitter convention is to use a hash tag (#) and theme the posts.  The obvious thing to do was to include #BSA in tweets, but this was also the tag used by the British Scouting Association.  This meant that there were an interesting mix of tweets from me on the conference and those tweeting about the boy scouts for those looking up #BSA.  Though it feels like a shared Twitter language, there are no ‘official’ rules, and an emerging self regulated etiquette, which makes tweeting a new and sometimes exciting experience, but can also be confusing for the recipient of a tweet.  The test is to use the 140 characters well.  This means that sometimes tweets might not mean as much to an external audience as they might to  the tweeter such as my tweet on the first day,  “Three good papers at start of #BSA conference”, which conveyed no more than my own view on the opening session.

You need to connect to a network or though GPS on mobile equipment, but if a signal can’t be found at a particular moment, a tweet can appear much later than the event on the timeline such as my tweet, ” #BSAThought provoking paper by Rustom Bharucha. Now Shakespeare on Film & TV” which appeared over two hours after the moment it was relevant.  There’s also that sense of doing something quickly so that I could get on with the business of concentrating on the papers at the conference.   This can lead to errors in spelling and grammar.   I notice that a couple of times session lost an ‘s’. 

And I felt conscious of the fact, I was using a mobile phone in a lecture space.  Taking notes with a pen and paper is often read as being engaged, whilst using a mobile phone for note taking or tweeting felt like bad manners, and I felt my activity might be read as being distracted or not interested in what was happening. 

Whilst tweeting, I considered why I was doing this.  What was the function of little posts through a three day event?  Sometimes it felt self indulgent.  I wasn’t sure that I was actually adding to my ‘Freinds’ knowledge of the conference.  However, I felt that it was one way for me to engage in what was happening.  To think about what the conference meant to me at each point I tweeted.  I have a micro blog record of the conference on my own timeline.  The need for me to tweet, rather than others to read my tweets, was probably my rationale.  It was very personal.  Indeed, no one had asked for my tweets or for me to tweet from the BSA conference.  In many ways the experience of tweeting felt far from social but extremely insular.

Mother Courage and Her Children (National Theatre, 10th September 2009)

Yes – I was there that night.  That’s my feeling looking back at my experience at the Preview of the National Theatre’s Mother Courage and Her Children.  The pre-show was a busy chaotic affair and it felt like the lines between setting up the show and the show itself were blurred.  The sound of an explosion every now and again created some tension.  However, the pre-show seemed to go on and on and it didn’t  seem to be going anywhere.   Then the director took a mic on stage and introduced herself.  Deborah Warner then informed us that the cast had been working up to 5 pm, but hadn’t finished to the technical side and as there was a danger to the cast so they were going to perform the play as far as the interval.  Deborah Warner then went on to say that if anyone left they could get a refund, but if the audience chose to stay they could also ask for a refund.  Some got up to go.  Others got up and came back.  Most of us stayed.

I must admit that I wasn’t sure if this was really going to happen and that this was just part of the performance or that the performance would stop at the point when the interval was to take place.  The performance was an eclectic mix of things.  There was a use of multi media which I thought worked much better than in Julius Caesarat the RSC.  Yes Fiona Shaw can’t sing beautifully but her singing added to the performance and I really liked the way the backing band could mimic her voice.  No this wasn’t the seventeenth century with its floral deck chairs and a wagon that would look in place at the side of a busy road.  I was surprised, mystified, entertained and I enjoyed what I saw. 

So when the interval came nearly two and half hours later, I really felt that I had seen enough.  There was another six scenes to go.  Was it an interval or not?  There was a curtain call.  Some people stood up to applaud and others cheered.  My interval drink wasn’t poured, but the glass stood on the bar empty in case I wanted my drink.  I travel a long way to the National and I won’t be able to find the time or money to come back to see this production.  Was I disappointed?  Not really.  It had been a theatre going experience that I will remember and yes two and the half hours was worth my money.

Articles

Mother Courage delays Press Night (What’s On Stage)
Mother Courage – The Preview that Wasn’t in The Guardian
Mother Courage rehearsal diary in The Times

 

The Cherry Orchard (Old Vic, 8th August 2009)

 

Old Vic 

I think that the Bridge Project has been extremely interesting.  I saw The Winter’s Tale at the start of the summer and The Cherry Orchard at the end.  The two productions kind of top and tailed my London season.  I had thought that the RSC might have made more connections between their productions of The Winter’s Tale and As You Like it, but as I wrote earlier in this blog, the company split the ensemble into two companies and the productions became two discrete productions.  It felt, when watching The Winter’s Tale and The Cherry Orchard, that Sam Mendes had considered how the two plays might work together.  On entering the auditorium The Cherry Orchard, the above quote from Richard II greets the audience.  There are similarities between the sets used for the both the Bridge Project plays and ideas of loss and regret are played out in both plays.  In The Cherry Orchard, I felt that the company worked really well together with some really good performances from Rebecca Hall, Simon Russell Beale, Ethan Hawke and Sinead Cusack.

Reviews and Previews

The Cherry Orchard/The Winter’s Tale
WOS Review of The Cherry Orchard and The Winter’s Tale
The Stage review of The Cherry Orchard at the Old Vic
The Time review of The Winter’s Tale and Cherry Orchard
Cherry Orchard/The Winter’s Tale
Article on The Winter’s Tale/The Cherry Orchard (The Times)
Official London – The Winter’s Tale
Guardian review of Cherry Orchard and The Winter’s Tale
Sam Mendes and Kevin Spacey: The Bridge Project…
Sam Mendes Interview
Sam Mendes and Kevin Spacey: The Bridge Project…
The Stage review of The Winter’s Tale at the Old Vic
Alexis Soloski: Beware of the bear – the dilemm…
The New Straits Times Online…….
Theatre preview: The Bridge Project, London | S…
Simon Russell Beale on his love of books – Time…
Official London – The Cherry Orchard
Telegraph- The Winter’s Tale and The Cherry orchard
Sam Mendes on the Bridge Project (BBC Interview)

A Midsummer Night's Dream (Newby Hall, 19th August 2009)

Earlier this summer, I saw the Globe’s touring production of The Comedy of Errors and Sprite’s The Tempest  Watching the Globe’s touring production at Newby Hall near Ripon in North Yorkshire was very enjoyable.  We were lucky to get there about three quarters of an hour before it started to set up camp.  I think if we’d got there any later we would hav stuggled to get a decent spot. 

A Midsummer Night’s Dream is always good for a few laughs whatever the production and this production was extremely funny.  Like the Globe’s The Comedy of Errors, the doubling up was really interesting and actually changing characters and dress on stage worked really well.  Since Adrian Noble’s production, umbrellas in A Midsummer Night’s Dream is no longer a surprise, but fortunately the evenign we went they were only needed in the performance because it stayed fine all evening.

Review

Globe on Tour (Charles Spencer in the Telegraph)

Further Information

Information and booking details on the Shakespeare’s Globe web site