So it isn’t press night – because you were at another show then. You arrive at the box office and say politely: “Hello. My name’s Susan Elkin. There should be a press comp for me for this performance. And a programme, I hope, because I’m reviewing it for Magazine X or Y?”
Susan Elkin chats to Justin Cooke, CEO of Digital Theatre. Digital Theatre offers access to films of live theatre, ballet, opera and classical concerts to individual subscribers and educational institutions.
I stand by everything I write in any review and will not make changes just because someone’s feelings may be a bit bruised. In fact I’m not prepared even to discuss it. We’re all grown up. If you invite a critic then criticism is what you’ll get. Accept it with grace.
So how on earth do greedy producers justify their obscene top ticket prices? Last week we heard that the best tickets for Hamilton are now £250 each. Okay, so I know you can sit elsewhere in the theatre with poorer views for less but NO theatre seat is worth a quarter of a million pounds.
The RSC provide resources, support, workshops and more to help children to start Shakespeare earlier, do it on their feet and see it live as set out in the RSC’s 2006 Manifesto, Stand Up For Shakespeare.
Last Thursday [while much of the UK was still on holiday], I attended the press conference at which Michelle Terry revealed her first season at The Globe. And the dynamics in the room were fascinating.
Children – for the most part, don’t find filth and innuendo funny even if they understand it. Actually, neither do I if it’s there simply because it’s smutty. A joke has to be really clever to work for me and clichéd sex/lavatorial gags rarely are. Filth for its own sake is a turn-off.