Royal Shakespeare Company

[Conchis]

The ENO discussion in another section of this forum has prompted me to solicit your thoughts on the RSC.

I was a regular patron for many years - my first 'proper' trip to the theatre was to see Donald Sinden play Othello back in 1979 (this is now a 'historical memory', as it seems unlikely that such a performance will ever be given again, anywhere in the world). In all the time I went, I have to admit to finding their Shakespeare productions pretty much consistently disappointing, if not downright awful. The one exception was a very good Midsummer Night's Dream with Mike Gwilym, Geoffrey Hutchings and a (then little known) Juliet Stevenson, back in 1981. Main stage Shakespeare in particular was shoddy, with indifferent verse-speaking and lots of minor actors building up their parts with 'comic' business.

Things were a lot better in The Other Place and The Swan, where the pressure seemed to be off to produce high production value crowd-pleasing stuff.

The only outstanding thing I've ever seen the RSC do was a marvellous Cherry Orchard with Alec Mccowen and Penelope Wilton, in 1995.

My last visit to the RSC was in 2012, to see Boris Godunov in the Swan. This reminded me of what I always found so depressing about the company - 'cabaret' style performances and a seeming inability to use their stage effectively (one character was completely 'blocked' by another while delivering a major speech - and I was in a good stalls seat).

All in all, I think the RSC trades on a reputation it won for itself in the 60s, when it really was a trailblazing company. But it's one of ACE's sacred cows, so money will continue to be thrown at it, even though it should arguably have lost its grant altogether over its shameful spurning of the Barbican as a London base (which had been given to it as a 'gift' by the Corporation of London).

What does everyone else think?

[Belgrove]

I'm not as negatively disposed to the RSC as you Conchis, and would not want them to lose subsidy. They certainly do not have a monopoly on poor verse speaking, the recent Lear at the National being the worst example I can recall having witnessed anywhere. It will be interesting to contrast this with their Lear (with Anthony Sher) coming in the summer. Despite the hype surrounding it, their current production of Richard II (at the Barbican) is very fine with an excellent performance from David Tennant in the lead role, who makes something new, distinctive and valid of the verse.

Their Plantagenet's (Henry VI 1&2 and Richard III), seen in a single day the 80's remains one of the high-spots of my theatre going (Anton Lesser made a far more effective Richard than Anthony Sher's managed in his albeit more famous earlier portrayal - also a young Ralph Fiennes was heart breaking as the saintly Henry). Also in that era was the epochal Nicholas Nickleby, another peak of achievement.

Maybe they are not as cutting edge and essential now as they were in earlier times, but they still premier important new works (Oppenheimer) which can go on to become a commercial hit (Matilde). The revamping of the large theatre provides a more flexible and suitable space to stage canonical and new works. Also the subsidy enables them to tour the country, their new production of A Midsummer Night's Dream is on the road in the late spring.

[Conchis]

I'm not as negatively disposed to the RSC as you Conchis, and would not want them to lose subsidy. They certainly do not have a monopoly on poor verse speaking, the recent Lear at the National being the worst example I can recall having witnessed anywhere. It will be interesting to contrast this with their Lear (with Anthony Sher) coming in the summer. Despite the hype surrounding it, their current production of Richard II (at the Barbican) is very fine with an excellent performance from David Tennant in the lead role, who makes something new, distinctive and valid of the verse.

Their Plantagenet's (Henry VI 1&2 and Richard III), seen in a single day the 80's remains one of the high-spots of my theatre going (Anton Lesser made a far more effective Richard than Anthony Sher's managed in his albeit more famous earlier portrayal - also a young Ralph Fiennes was heart breaking as the saintly Henry). Also in that era was the epochal Nicholas Nickleby, another peak of achievement.

Maybe they are not as cutting edge and essential now as they were in earlier times, but they still premier important new works (Oppenheimer) which can go on to become a commercial hit (Matilde). The revamping of the large theatre provides a more flexible and suitable space to stage canonical and new works. Also the subsidy enables them to tour the country, their new production of A Midsummer Night's Dream is on the road in the late spring.

Belgrove - I've not been to the new RST. A person connected with the company (thought not part of it) confidently told me it was 'the best theatre in the world' but I've heard contrasting views from other people, with the same complaints about poor sightlines. Presumably, the person who liked it saw everything from a stalls seat - if you're not in the stalls, it can be a very different story!

No, the RSC certainly doesn't have a monopoly on poor verse-speaking and I think you'll struggle to find a Renaissance drama production in the UK currently where the verse is spoken consistently well by all cast members. There are complex reasons for this decline, of course, but it does tend to make me shy away from the classics on stage (I didn't much like the National's highly-praised Othello a few years back, although that did have its moments).

[gurnemanz]

We are very keen theatre-goers and live about an hour's drive from Stratford so the trip is perfectly feasible. Over recent years we have been there much less often and then mainly to the Swan (we also saw that Cherry Orchard mentioned above). Rather amazingly, we still haven't been to the refurbished main house. I'm sure we have missed some excellent stuff but there has obviously been less on offer which has attracted us. We usually end up going to London (off to Master Builder with Ralph Fiennes at the Old Vic tomorrow) or Bath, whose Ustinov offerings are very worthy of attention at the moment.

[jean]

I saw most of their productions at the Barbican in the 70s and 80s - Alan Howard as Richard II & III, lots of Alan Rickman, before he got really famous, and much else besides - and am surprised at the negative comments here.

I'm grateful now for the relays. Antony Sher's Falstaff was wonderful.

[Nick Armstrong]

Don't go that often, and seem to have chosen well - I don't think I've ever seen a dud at the RSC. Highlights were Antony Sher's 'bottled spider' Richard III, Ben Kingsley's mesmerising Othello at the Barbican (the only time the 'psychological arc' of that character has ever seemed wholly convincing); and perhaps above all, this completely magical and moving Winter's Tale in 1992 (poster's still up here at home):

[Conchis]

I saw most of their productions at the Barbican in the 70s and 80s - Alan Howard as Richard II & III, lots of Alan Rickman, before he got really famous, and much else besides - and am surprised at the negative comments here.

I'm grateful now for the relays. Antony Sher's Falstaff was wonderful.

I remember being unimpressed by Alan Howard's Richard llll - somewhat arch and played for pantomime value. A rather toothless production by Terry Hands. I was bit too young to follow A.H's progress through the RSC but long-term attendees tell me he gradually became more and more mannered to the point where his performances were all about posing around in leather, like some sort of Shakespearean Jim Morrison.

He was excellent, though, as Halder in C.P. Taylor's Good (anyone remember that?). A theme is beginning to emerge, I think: the RSC are on surer ground when performing plays NOT by their famous patron (for me, at least).

Another thing that has always grated with the RSC - an indefinable (or maybe not so indefinable) air of smugness that has seemed settled on the organisation, particularly in Stratford - as if this little one-horse Warwickshire town is terribly lucky to have this big arts complex in its centre (which it may be - but a bit more humility might not go amiss).

[Conchis]

It might have a dubious present but the RSC did have a glorious past - particularly in the 60s, when it presented what I'm sure were some astonishing productions. People I know who saw the Wars Of The Roses (with Ian Holm as the 'definitive' Richard lll and David Warner heartbreaking as Henry Vl) have never forgotten it. Fortunately, it's on youtube, albeit in bits and pieces.

[Conchis]

I caught the last half of the RSC's 'Celebration'.

It was vulgar, over-produced and reflected the lower middle-class values of the people who run the RSC at the moment (and the RSC's current audience). A decision seems to have been made that no words, not even Shakespeare's, can be permitted to stand alone but must be 'accompanied' by a syrupy, specially- composed score. Some OK performances (and some very ropey ones) but what was good counted for nothing against the high tide of mediocrity.

Never thought I'd say this, but 'Scottish' David Tennant might be even more irritating than 'Mockney' David Tennant.

A new low for UK arts coverage - and though it was nice to hear the end of Verdi's Falstaff, why couldn't we have had it in Italian?

[Nick Armstrong]

I caught the last half of the RSC's 'Celebration'.

It was vulgar, over-produced ...

Oh dear... Recorded here and first 15 mns watched - I hoped they'd put the patronising low-brow stuff on first, before getting on to proper acting talent in the second half... Not so it seems.

I commented in The Other Place (the 'teeth on edge' thread) about how dire Ms Tate was in the section I watched. But yes, I can't take Tennant really any more either - his parody voice-over on "2012" and "W1A" was brilliant but now colours everything he does, in my mind anyway. (His Hamlet wasn't bad - but as I recall it was neither Scottish nor 'mockney').

The rest will be watched for the likes of Dench, McKellan, Allam etc. to see what they do, but my hopes aren't high. I suspect the vulgarity you mention wasn't all the RSC's fault - the Jemimas in Stratford and the Sebastians at the BBC mashed it up together, I tend to think, to feed to the masses with a big spoon labelled "accessibility", whilst ticking boxes in their management appraisal forms with the other hand

[Mary Chambers]

There was some gold among the dross, but not enough. My patience (with a great deal of grumbling) was rewarded by a brief contribution by Simon Russell Beale - seemingly the only actor who can deliver Shakespeare's lines naturally - Judi Dench's Titania (completely convincing, and I'm not normally a huge fan), and Ian Bostridge singing Quilter's Come Away Death with easy perfection, accompanied by Pappano.

[greenilex]

Yes, those were excellent items, and the rest was reasonably amusing.

But now Breakfast is full of inane repeats. Serves me right for watching/listening too much. Will turn it off.

[Norrette]

Saturday night at the Shakespeare Palladium. I missed the middle of it, enjoyed Allam's Lear. Has he given this on stage? Think he'd make an excellent job of it.

Yes, box ticking.

[mercia]

Despite many intrinsic challenges, Shakespeare Live! was an apt and vivid reminder of the playwright’s chameleon brilliance, his astonishing powers of assimilation, and the way in which the inspired juxtapositions of his language and poetry can ignite the cortical synapses of the imagination like no one in our literature

Guardian

[Stanley Stewart]

Despite many intrinsic challenges, Shakespeare Live! was an apt and vivid reminder of the playwright’s chameleon brilliance, his astonishing powers of assimilation, and the way in which the inspired juxtapositions of his language and poetry can ignite the cortical synapses of the imagination like no one in our literature

Guardian

Indeed, mercia, the Guardian quote says it all. Thank you.

Apart from a few longueurs this was a dazzling evening. Anyone who've been in the biz will realise the energy required to organise these one-offs, particularly during an on-going season. Groups rehearsing in every corner of a large site with last night's performance riding on a wing and a prayer throughout. I've been a regular attender at the Shakespeare Memorial Theatre since 1949 to the mid 90s - half-a-crown to sit in the gods -but the 1951 Festival of Britain season remains foremost in my mind. Michael Redgrave as Richard II, a young Richard Burton as Hal, memorably matched by Harry Andrews as Henry IV with director, Anthony Quayle, a gutsy Falstaff. Reminders last night from Simon Russell Beale, Ian McKellen and Judi Dench on the importance of clear enuniciation which used to be the norm. Must now finalise a DVD recording after adding a reminder that ARENA: All the World's a Screen - Shakespeare on Film, will be shown on BBC 4, tonight, Sunday, 24 April, 21-22.00hrs, preceded an hour earlier by Yehudi Menuhin: Who's Yehudi? Later, at 22.00hrs, a classic sci-fi, Forbidden Planet is a clever adaptation of The Tempest! Recorder set for all three features.