Now, straight off the bat, this isn’t a dig at Rufus. No, that’s not what this blog is about. Rather, it’s some comparably small suggestions that I think could bring about real meaningful change both at the NT and at other producing theatres.
However, a couple of interesting tweets popped up from Channel 4’s political correspondent, Michael Crick, that seemed to get people’s juices flowing – one of which makes a rather pertinent point. What do we buy programmes for? What is the point of them?
Annie Baker’s absorbing and quirky John, which has just opened on the National Theatre’s Dorfman stage, is a slow burner full of the playwright’s trademark long-drawn-out silences and awkward conversations.
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.
There is so much to admire in this revival that it’s hard to know where to start first. Let’s go with Lucian Msamati. I maintain that he was cruelly robbed of at least acknowledgement and nomination in the various end-of-year award shows.
Opening just before Christmas to rave reviews, the London version of the multi-award-winning Broadway hit Hamilton has won its first major prize outside the USA – Best Musical at the 2017 Critics’ Circle Theatre Awards.