The point – and it’s a major one – is that the actor, irrespective of all other considerations, must be the best possible interpreter of the role for the work in question.
Why aren’t we telling young people about the writing and writing-related careers which drive our industry?
I am gradually amassing quite a pile of books about writing plays. Collecting and reading them is probably a displacement/procrastination activity. One of these days I really am (or so I keep telling myself) going to write a play. Just don’t ask me when.
So by all means let’s go on running relaxed performances for people who need them but at the same time we shouldn’t lose sight of the need to promote co-operative, compliant, appropriate behaviour from most audience members at most performances, please.
One of the greatest pleasures of being an education journalist with a foot in the performing arts camp is meeting young actors at the start of their careers and then watching them develop.
I’ve always known that theatres are nice places and that most theatre people are wonderful but I’m currently seeing that confirmed in a completely new way.
As a theatre critic/interested person, I really like it when the theatre programme I’m issued with is also the text of the new play I’m seeing.
Guildford School of Acting has just axed (“not recruiting for 2019/20”) two courses: BA Hons Theatre and Performance and BA Hons Dance. Many students and alumni who think highly of these courses have expressed dismay.
Anything which makes me think about these plays in a new way is a bonus. I also want actors – irrespective of their sex – to have maximum opportunities.
Why can’t independent training providers, who can show that they deliver the goods, be registered as bona fide organisations whose students are entitled to student loans?
For a start you need dramatic talent, flair and an ear for dialogue as well as ideas and a good vocabulary to write a play. And I’m still not sure. But, as always it’s probably a case of nothing ventured nothing gained. Perhaps later this year…
Making theatre as diverse as possible is, I think, a work in progress. And progress is the operative word. I’m not advocating complacency. Of course there’s still much to be done but don’t let’s belittle the enormous amount which has already happened.
Above The Stag – which began as a pub theatre – is now housed in a new purpose-built venue in a railway arch. It moved into its new home last year. And when I got to the intelligent loos I was both amazed and delighted.
Drama school audition fees are a scandal. They are immoral and unfair. Drama aspirants should not be punished for their passion.
The open air season will soon be upon us. “If winter comes, can spring be far behind? as Shelley puts it. And no one does open air theatre with more hopeful enthusiasm than the lovably daft British.
I’ve thought and written a lot about performing arts foundation courses lately. It’s the time of year when students are looking at possible options for September and course providers are trying to sell their wares.
If you work with under-18s developing performance skills (along with confidence and all those other useful transferables) then Samantha Marsden’s new book is likely to be very helpful.
It is quite wrong for children to go through their childhood without ever experiencing the transformative magic of theatre simply because their parents aren’t very well off or don’t know much about theatre. Education is about opening doors.
I’ve seen several plays recently (no names no pack drill) in which I have missed an occasional line. There is nothing, I repeat nothing, wrong with my hearing.
So what do you do with theatre programmes aka playbills (in the USA)? They make nice souvenirs of an evening out but what if you’re in the theatre working three or four times a week? You’d soon need a very large rented storage facility to accommodate them unless you own a mansion.