If there were other things afoot, they will come out in good time no doubt, but the speculation here by some borderlines on unseemly. But it is not my problem so I will not comment on it anymore.
Post by samuelwhiskers on Apr 9, 2023 10:01:51 GMT
I don't claim to know the full, full story (two sides and all that) but from what I have been told, my sympathy is entirely with Danny. Seems like most people in the industry are siding with Danny. I have to admit I'm biased because I had a play on at the Court quite a few years ago (early in Vicky's reign) and certain aspects of their behaviour was not acceptable and quite shocking.
The Court has the worst reputation in theatre (maybe joint with the Young Vic) for treating writers badly and being borderline abusive, and they have a racism problem which is the elephant in the room. There's a WhatsApp group that has probably at least half all the famous and working playwrights in Britain on it, and the Court is the one name that pops up again and again when people are discussing bad experiences.
Accidental initiator of the great Horse Pun War of 2019.
I don't claim to know the full, full story (two sides and all that) but from what I have been told, my sympathy is entirely with Danny. Seems like most people in the industry are siding with Danny. I have to admit I'm biased because I had a play on at the Court quite a few years ago (early in Vicky's reign) and certain aspects of their behaviour was not acceptable and quite shocking.
The Court has the worst reputation in theatre (maybe joint with the Young Vic) for treating writers badly and being borderline abusive, and they have a racism problem which is the elephant in the room. There's a WhatsApp group that has probably at least half all the famous and working playwrights in Britain on it, and the Court is the one name that pops up again and again when people are discussing bad experiences.
Whoever replaces Vicky Featherstone is going to have to do a lot of repairing of relationships.
Not to be nosey but could you tell us the play you put on? No worries if you can't.
Anyone recruiting people who will take a position of authority & power in theatre - where manipulation and bullying is particularly easy under the cover of very subjective 'artistic judgment', and where those exposed to manipulation and bullying have few avenues to resist if they want to continue working - should always ask for confidential opinions from artists and actors who've themselves been recruited by or worked with that person - not just listen to what they have to say in an interview (because many of these people manage upwards very deftly at the same time as they abuse the people they have power over..).
Its certainly an interesting way to react to a play rather than walking out.
Maybe more 'relaxed' performances are the way forwards, like the BAC does for all their shows? You can cater for people who do want to interact with a theatre show or go for a break if triggered.
Tourettes hero, a disabled theatre maker, does say how their condition makes it difficult to enjoy shows. There is probably a midway point to it
Its certainly an interesting way to react to a play rather than walking out.
Maybe more 'relaxed' performances are the way forwards, like the BAC does for all their shows? You can cater for people who do want to interact with a theatre show or go for a break if triggered.
Tourettes hero, a disabled theatre maker, does say how their condition makes it difficult to enjoy shows. There is probably a midway point to it
There is a huge difference between designating certain performances as relaxed events to be as inclusive as possible and the sort of behaviour this person chose to engage in.
The first is a positive contribution to theatregoing in contemporary society.
The latter is just acting up to be noticed. And yes, she has achieved that.
If she was genuinely triggered by what was happening on stage, why would she not just remove herself from the cause of such distress?
Staging her own performance to demonstrate her feelings is just rude.
We shouldn't tolerate such behaviour. It sets back the push for more inclusive performances.
Its certainly an interesting way to react to a play rather than walking out.
Maybe more 'relaxed' performances are the way forwards, like the BAC does for all their shows? You can cater for people who do want to interact with a theatre show or go for a break if triggered.
Tourettes hero, a disabled theatre maker, does say how their condition makes it difficult to enjoy shows. There is probably a midway point to it
There is a huge difference between designating certain performances as relaxed events to be as inclusive as possible and the sort of behaviour this person chose to engage in.
The first is a positive contribution to theatregoing in contemporary society.
The latter is just acting up to be noticed. And yes, she has achieved that.
If she was genuinely triggered by what was happening on stage, why would she not just remove herself from the cause of such distress?
Staging her own performance to demonstrate her feelings is just rude.
We shouldn't tolerate such behaviour. It sets back the push for more inclusive performances.
Oh I don't disagree that this particular person seems to be rude. Just if there are more relaxed performances, someone like that nay be going tk those where they can act like that
We shouldn't tolerate such behaviour. It sets back the push for more inclusive performances.
Beware the cancer of social media, at which she seems adept. Wouldn't you just be oppressing her, unmasking your own hatred, reinforcing her victimhood? Plus, the bigotry of suppressing another female voice. And the racism because yeah it's racist and if you can't see that, etc?
Called out by name, for the world to see.
I think you might find her blend of identifies - at least for 48 or so hours - is more important than all the other identities jostling for the same spotlight.
This is the world entirely made and facilitated by white liberals, which the Marxist/cultural rev/gen z kids have taken and run with - altogether, the educated people who absolutely know what's best for us all in this unspeakable, rancid, racist country ..
So, I wish your "we" good luck with that.
Last Edit: Apr 10, 2023 13:17:18 GMT by londonpostie
We shouldn't tolerate such behaviour. It sets back the push for more inclusive performances.
Beware the cancer of social media, at which she seems adept. Wouldn't you just be oppressing her, unmasking your own hatred, reinforcing her victimhood? Plus, the bigotry of suppressing another female voice. And the racism because yeah it's racist and if you can't see that, etc?
Called out by name, for the world to see.
I think you might find her blend of identifies - at least for 48 or so hours - is more important than all the other identities jostling for the same spotlight.
This is the world entirely made and facilitated by white liberals, which the Marxist/cultural rev/gen z kids have taken and run with - altogether, the educated people who absolutely know what's best for us all in this unspeakable, rancid, racist country ..
So, I wish your "we" good luck with that.
She shouldn’t be making noises in the theatre. Distracting for the actors doing their jobs.
The RC doesn’t do many relaxed performances, and they are always on a Saturday afternoon - hardly doing their best to accommodate those who need this option (although it doesn’t sound like this particular person cared about their impact on others).
On the other hand the BAC ‘one size fits all’ approach is lazy in a different way - thinking you can meet the needs of a huge range of disabilities, neurodiversities and everyone else by just letting everyone make noise and wander around.
I’m autistic and find it hard to cope with visual distractions and noise. I would avoid BAC because I know I’d find it too stressful, so it’s not inclusive of people like me, or the many people who might not have a disability but just value being able to enjoy theatre without distractions.
I think a better answer is to enforce and publicise existing rules, but also have many more relaxed performances, and be clear that they are not just for disabled or neurodiverse people, but anyone who prefers that way of seeing theatre.
Relaxed performances cost a shed load of money because they are so sparsely attended, and require significant staffing. The lost financial opportunity is considerable - not too many customers prefer the lights up, the comings and goings, chatter, etc.
If you think Saturday afternoon is a bad idea, I can't think when might be a good idea. As you'll know, disabled people work, as well. A Saturday afternoon is the most generous allocation of resources I have ever known.
Last Edit: Apr 11, 2023 10:02:10 GMT by londonpostie
Relaxed performances cost a shed load of money because they are so sparsely attended, and require significant staffing. The lost financial opportunity is considerable - not too many customers prefer the lights up, the comings and goings, chatter, etc.
If you think Saturday afternoon is a bad idea, I can't think when might be a good idea. As you'll know, disabled people work, as well. A Saturday afternoon is the most generous allocation of resources I have ever known.
Disabled people also go out in the evenings, same as everyone else.
My point is that they should be marketed differently. They’re not ‘disabled performances’. They’re performances for people who don’t like to stay quiet and still, or find it difficult. Judging by the Bad Behaviour thread, there are plenty of them. Maybe it ought to be seen as an opportunity.
I should say, I’m not suggesting that disabled people are ‘badly behaved’ more that theatres might see that the needs of some disabled people are similar to the behavioural norms of other non-disabled people. So why not market ‘relaxed’ as something for all, rather than a special thing for disability inclusion?
I should say, I’m not suggesting that disabled people are ‘badly behaved’ more that theatres might see that the needs of some disabled people are similar to the behavioural norms of other non-disabled people. So why not market ‘relaxed’ as something for all, rather than a special thing for disability inclusion?
Are they marketed as only for disability inclusion?
The RC are clearly getting a lot wrong recently, I'm not suggesting otherwise, but complaining about the performances being on Saturday afternoons seems misguided. I'm fairly sure there would be much more of a backlash if the relaxed performances were of a weekday evening.
I'm gobsmacked at the entitlement and self centred attitude of this person - she ought to have read what the play was about and avoided it, or she could have left if she felt triggered. Was she expecting everyone else to sit and endure her weird noises while attempting to enjoy the play?
I should say, I’m not suggesting that disabled people are ‘badly behaved’ more that theatres might see that the needs of some disabled people are similar to the behavioural norms of other non-disabled people. So why not market ‘relaxed’ as something for all, rather than a special thing for disability inclusion?
Are they marketed as only for disability inclusion?
The RC are clearly getting a lot wrong recently, I'm not suggesting otherwise, but complaining about the performances being on Saturday afternoons seems misguided. I'm fairly sure there would be much more of a backlash if the relaxed performances were of a weekday evening.
The ENO's relaxed performance of Akhnaten was last Tuesday at 2.30. Easter break had just begun (obv. the target demographic on this occasion) so a great time for parents with children (and they were brilliantly catered for with extra activities). But not so good for people who wanted to go but were at work.
Well done the Royal Court for sacrificing a proper Saturday earner for those who feel more comfortable in less conventional surroundings.
Last Edit: Apr 11, 2023 13:22:40 GMT by londonpostie
I should say, I’m not suggesting that disabled people are ‘badly behaved’ more that theatres might see that the needs of some disabled people are similar to the behavioural norms of other non-disabled people. So why not market ‘relaxed’ as something for all, rather than a special thing for disability inclusion?
Because people complain and want their money back and make a lot of noise on social media. So there is a screening process at most venues. You can't often buy tickets online because they want you to speak to the box office, who will talk you through what can happen at a relaxed performance before you buy, or don't.
As mentioned, these tend to be labour-intensive performances, with an awful lot of thought going into the day itself.
Last Edit: Apr 11, 2023 13:35:54 GMT by londonpostie
I went with a friend on Thursday afternoon but we left at the interval, mainly because I was feeling ill but we might have stuck it out longer had it been a bit more compelling.
Lewis Brown was doing a very good job of not having to rely on the script in his hand. I thought the other performances weren't anything that special.
It seemed like more of a series of conversations than a play. It was quite amusing but it felt like it had zero momentum. I know things were due to get more serious in the second act but I needed a lie-down.
I saw it through to the end at the Saturday matinee, and liked a lot about it, but it was trying to do and say way too many things at once. Like Alice, I liked Lewis Brown; I also liked Dyllon Burnside and I loved Rochenda Sandall, who I wished had an even bigger part lol.
Some spoilers follow. . .
One of my favourite plays of last year was the Almeida's "Daddy." It was a play about a black artist who feels marginalised, gets himself a "Daddy" (Claes Bang singing George Michael's "Father Figure"), and then cooly manipulates his Daddy until he achieves everything he wants in his career.
This play is, at it's core, the sad version of "Daddy," cos the protagonist's Daddy/superhero fantasies are not reciprocated, he is too genuine to be manipulative, and he suffers at the bottom of the artistic totem pole in perpetuity. Everything else: his psychological problems (probed in depth in the second half); his problems with a racist industry; his problems with his compromising friends; his unrealised artistic dreams; are presented in a rambling unfocused way which doesn't build dramatically in a focused way to a climax.
Given the theme of the play, about how sidelined someone with psychological trauma can be, I felt glad to see Lewis Brown in the part, an actor whose experience catching up with the other actors mirrors his character's (futile) attempt to catch up with the careers of his friends. The original casting of the playwright in the role feels less appropriate to me, as such a powerless character mustn't have the perceived ability to rewrite the lines of everyone else, who are all above him in the social pecking order, especially not the lines of his ultimate fantasy object, the actor playing a movie superhero, Dyllon Burnside.
Burnside is very convincing as a wheeling dealing entitled yet fearful Hollywood type, and Rochenda Sandall is simply superb as the only person who deep down cares about the flailing protagonist, his tough sister with a heart of gold.
Ultimately, there is a lot of interesting and believable dialogue about a lot of things, but the focus is lost regarding how much the protagonist needs a superhero Daddy, and why, and the tone flips from comedy to tragedy just as carelessly.
Saw this tonight. I have to say I loved the performances more than the play. The play feels to gimmicky and made to many references to popular culture for my liking. Lewis Brown has achieved so much in taking on this role in such difficult circumstances. Tonight was his first night without the script, and he was fantastic. Likeable, with a beautiful vulnerability. Dyllon and Lewis had a raw chemistry that worked. I also loved Rochenda. But Dyllon was so desperately attractive that it gave the play a Hollywood feel. I have to say the play didn’t feel lesser for not having DLW in the lead. What a shame Lewis didn’t get a decent press night and all the glory. Let’s hope this gives him a break he rightfully deserves.
I enjoyed this, certainly more than I expected given its difficult journey. I think the 3 to 4 star reviews it received from a lot of the press were about right and agree with luvvie23 that Lewis Brown did a great job. I was sorry that he wasn't slipped in the programme/playtext - if you missed the notice on the auditorium door, you wouldn't have known who was playing the role.
I thought the first 2/3s to 3/4s of the play worked pretty well with a number of laugh out loud moments and a beady eye on conversations actors have/competition between friends/blurred lines between friendship/sex, but it lost steamed towards the end (the childhood memories were less interesting to me and a late scene swerved into the joyless depiction of gay sex about which David had been complaining.) The direction was pacey and varied. The audience really stuck with the play and the cast looked very happy at the curtain call. Dyllon's wardrobe was very appealing. So a flawed evening, but it's a real play with some interesting ideas.