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Post by martin1965 on Oct 27, 2016 16:32:33 GMT
I've mentioned here before that Rice is actually quite a conservative middle-class director whose successes like Brief Encounter, Rebecca, The Red Shoes, The Umbrellas of Cherbourg etc. appeal to a similarly conservative middle-aged demographic. She rather neatly makes this point herself by saying she'd rather listen to the Archers than watch Shakespeare. The Archers ? Seriously ? Anyone here listen to the Archers ? Her cultural references are hardly likely to be familiar to 14 year old in Nottingham. She is no doubt a good director, but not really innovative and actually a bit old fashioned when it comes to Shakespeare, we've been seeing that approach from the likes of Cheek by Jowl and Filter for decades. Agree totally JB!
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Post by ldm2016 on Oct 28, 2016 7:46:51 GMT
"complaints from customers about the lack of authenticity, have left many of my co-workers in tears and signed off work with stress-related depression" What a load of nonsense and so typical of today... Wow. I sincerely hope your loved ones never have cause to seek help for mental health issues, because it's clear there'd be no sympathy coming from your direction. Whatever you think of Emma Rice's work or the sanctity of Shakespeare or whatever, people being in a place of severe work-induced stress is absolutely nothing to be dismissive and sneery about, and if it feels like it's a modern day thing that never happened in the past, then you are quite simply deluded. People may not have had the support or the help back in the olden days, and they may not have felt able to talk about it or had the terminology to talk about it, but people sure as hell suffered from work-induced stress and stress-related depression nonetheless. Don't you dare be so disgustingly dismissive of that. You are entitled to your opinion, I am entitled to mine.
I hate the actual saying but people need to "man up" sometimes. People moaning about the authenticity of a theatre production should be borderline annoying at worse.
There's a reason why the term "Generation Snowflake" was coined and this is a perfect example.
How would these people react to a proper crisis?
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Post by Jan on Oct 28, 2016 7:52:32 GMT
Talking of facebook, I enjoyed this exchange on the RSC's page ... Quite right too, its obviously nothing to do with RSC You cut off that exchange before we could read the RSC's "statement on it". What was it ? I'm all agog to see what they have said.
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Xanderl
Member
Not always very high value in terms of ticket yield or donations
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Post by Xanderl on Oct 28, 2016 8:20:42 GMT
As posted above:
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Post by Snciole on Oct 28, 2016 8:50:12 GMT
Someone called Kitkat McAthley who apparently works at the Globe just posted this on Facebook (there's a duplication glitch in it but I'm reproducing it here unedited): Increased tour sizes and prices in an already over-crowded theatre, coupled with appaling working conditions while lights are put up and sound equipment installed, and complaints from customers about the lack of authenticity, have left many of my co-workers in tears and signed off work with stress-related depression. I went on a tour last year as a birthday treat and I was shocked at how large the tours were (about 30-35 people, possibly more) and how we had one guide leading them. It felt very unsafe and people in tours kept losing their tour guide. As great as the tour and exhibition are it was a real contrast to the RAH tour where there had been maybe 8/9 people.
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Post by Honoured Guest on Oct 28, 2016 8:58:02 GMT
Stratford-upon-Avon's a research organisation, the Shakespeare Institute, is part of the University of Birmingham and so completely separate from the RSC which can pursue its artistic activities without the interference of a load of academics.
But Shakespeare's Globe is an educational Trust whose Board governs both the Educational Research and the Theatre, so the Globe's Theatre is always subject to academic control of its artistic programme, as has been fatally manifested this week.
We've been fortunate that Mark Rylance, Dominic Dromgoole and Emma Rice until April 2018 have been able to navigate the demands of the academics and negotiate a Theatre programme acceptable to both parties but, now that some of the academics have thrown their toys out of the pram and persuaded the Board to subjugate Theatre to Research, no future Artistic Director would feel that the Board will permit them to artistically direct.
The RSC must be basking in its relative artistic freedom.
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Post by cirque on Oct 29, 2016 13:27:03 GMT
Dream post. Michael Boyd. Ensemble. Could be fantastic
Had lot of thoughts this week and rather modified some of my opinions.will try to clarify soon .......Whatever Shakespeare's Globe must really get to grips with the immediate future and not tread water for the next year. Still think Dromgoole should caretake next season ......it's very confused.
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Post by Honoured Guest on Oct 29, 2016 14:38:20 GMT
Emma Rice remains AD until April 2018. Next year's summer season was announced earlier this week. Any Sam Wanamaker Playhouse shows in Summer 2017 are yet to be announced, and next year's Winter season in the Sam Wanamaker Playhouse, Emma Rice's final season, should be announced in six months time.
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Post by cirque on Oct 29, 2016 16:15:24 GMT
I know all that but do you think that will all continue as planned.....will budgets be cut if other depts suffering......lots in the mix
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Post by Jan on Oct 29, 2016 16:37:15 GMT
Stratford-upon-Avon's a research organisation, the Shakespeare Institute, is part of the University of Birmingham and so completely separate from the RSC which can pursue its artistic activities without the interference of a load of academics. But Shakespeare's Globe is an educational Trust whose Board governs both the Educational Research and the Theatre, so the Globe's Theatre is always subject to academic control of its artistic programme, as has been fatally manifested this week. We've been fortunate that Mark Rylance, Dominic Dromgoole and Emma Rice until April 2018 have been able to navigate the demands of the academics and negotiate a Theatre programme acceptable to both parties but, now that some of the academics have thrown their toys out of the pram and persuaded the Board to subjugate Theatre to Research, no future Artistic Director would feel that the Board will permit them to artistically direct. The RSC must be basking in its relative artistic freedom. You omit to mention that Rice's spending on lighting etc. has depleted the funds available for the educational department - you can't absolve her of all blame for this shambles.
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Post by Jan on Oct 29, 2016 16:38:33 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one).
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Post by BurlyBeaR on Oct 29, 2016 16:44:10 GMT
And rather bad form to be slagging off another company's management decisions, one might suggest.
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1,119 posts
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Post by martin1965 on Oct 29, 2016 16:44:33 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). I wondered about that too JB, far as i know the complete works Cymbeline is the only thing she has done and tjats ten years ago! Not sure why the SMT at Stratford felt compelled to say something.
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Post by martin1965 on Oct 29, 2016 16:46:18 GMT
And rather bad form to be slagging off another company's management decisions, one might suggest. And a rival, certainly as far as the Wanamaker Playhouse and Swan are comcerned!
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Post by Honoured Guest on Oct 29, 2016 22:23:26 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). Also Don John, adapted and directed by Emma Rice and co-produced by the RSC and Kneehigh, and The Empress by Tanika Gupta and directed by Emma Rice for the RSC at the Swan. Greg Doran appointed Erica Whyman as Deputy Artistic Director, a new RSC post which has replaced the previous structure of a small team of Associate Directors.
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Post by Honoured Guest on Oct 29, 2016 22:25:49 GMT
And rather bad form to be slagging off another company's management decisions, one might suggest. It's a Board decision, not a management decision.
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Post by Honoured Guest on Oct 29, 2016 22:29:42 GMT
You omit to mention that Rice's spending on lighting etc. has depleted the funds available for the educational department - you can't absolve her of all blame for this shambles. That claim doesn't seem entirely credible. Every other theatre in the UK has lighting, sound and scenic design. How could it possibly be that the Globe Theatre is the only theatre in the country to be plunged into financial crisis by following universal practice?
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Post by kryz1000 on Oct 30, 2016 8:04:36 GMT
That claim doesn't seem entirely credible. Every other theatre in the UK has lighting, sound and scenic design. How could it possibly be that the Globe Theatre is the only theatre in the country to be plunged into financial crisis by following universal practice? err - because the Globe didn't use (and therefore own) that sort of equipment before? They would have had to hire/buy it. That's money that could have been spent elsewhere. No-one's said that a financial crisis was precipitated but there will have have financial consequences. It's good to see that the papers, social media and message boards have started to take a somewhat calmer, more measured tone as the end of the week arrives. I'd imagine that the reduction in Twitter-chatter will give the Globe a bit of space to get things sorted out future-wise!
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Post by Honoured Guest on Oct 30, 2016 8:35:34 GMT
No-one's said that a financial crisis was precipitated but there will have have financial consequences. The alleged employee, named in honour of a chocolate bar, did.
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Post by martin1965 on Oct 30, 2016 9:26:05 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). Also Don John, adapted and directed by Emma Rice and co-produced by the RSC and Kneehigh, and The Empress by Tanika Gupta and directed by Emma Rice for the RSC at the Swan. Greg Doran appointed Erica Whyman as Deputy Artistic Director, a new RSC post which has replaced the previous structure of a small team of Associate Directors. Yeah well there is a reason why Jan and i didnt recall those productions!!
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Post by DuchessConstance on Oct 30, 2016 11:03:35 GMT
Apropos of nothing, but the RSC apparently invented some new and revolutionary kind of stage light. Lady Gaga used them for one of her tours.
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Post by Cardinal Pirelli on Oct 30, 2016 11:06:21 GMT
That claim doesn't seem entirely credible. Every other theatre in the UK has lighting, sound and scenic design. How could it possibly be that the Globe Theatre is the only theatre in the country to be plunged into financial crisis by following universal practice? err - because the Globe didn't use (and therefore own) that sort of equipment before? They would have had to hire/buy it. That's money that could have been spent elsewhere. No-one's said that a financial crisis was precipitated but there will have have financial consequences. It's good to see that the papers, social media and message boards have started to take a somewhat calmer, more measured tone as the end of the week arrives. I'd imagine that the reduction in Twitter-chatter will give the Globe a bit of space to get things sorted out future-wise! The eqiupment is not that expensive, not for a theatre like the Globe. One look at their accounts and it brings into question the veracity of everything they say. It isn't credible. That person may have been lied to by someone else and are passing that on but the fact is that you could buy that equipmemt and leave only a minor dent in their finances. This is not going to go away and nor should it; the next year and a half are the perfect chance for Rice and her team to put forward her contrasting vision.
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Post by cirque on Oct 30, 2016 13:36:53 GMT
Really depressing dialogue ......my perspective after thoughts etc
Audiences are not stupid and can enjoy classical,contemporary,site specific and digital enhanced productions if they are made with care and understanding. Therefore OP can sit alongside Imogen in the same building .
Globe was always a revolutionary house and this discussion seems to place Rylance and ?Dromgoole in the trad camp.Not true the extensive touring,outreach and site specific projects were thrilling and won new audiences.I have been to Globe many times this year and many,many attendees are the same as before.There can be an artificial picture of new audiences.
Artistic Director must have total passion for Shakespeare and his contemporaries without doubt..to explore expertise not find a way to make fully accessible to everyone.We can't all enjoy Bach,Mozart,Montiverdi,Taverner,Oasis,Bowie,Smiths,Whitacre etc ...the beauty is we can choose and select to taste.Max Richters take on Vivaldi is genius yet we can still enjoy original side by side and without condemning those who prefer either version.
Our theatre right now is under the vocal influence of quite a close group.....you see the same names hovering around boards and exec offices.Do the exercise and you can work out how Emma Ruce got the job.The perspective of these people is important and should be heard but they should not be able to dictate how our wider theatre is developed and executed. A commitment to change whether it be casting,gender diversity,style and execution should respect the wide reasons why theatre is loved and is no ones property.
Emma Rice believes that amplified sound etc wins over young people...ok.,if it's good it's great but many young people visiting theatre love the costumes,the design ,the other world outside of their own experience.Take current Marvel films packing them in.....fantasy,costume,other worlds...Superman does not live in Hoxton and would not find much of an audience if he did.Emma has proved herself a storyteller of imagination and style in many ways....let's not believe it all has to be at street level for new audiences.
The appointing commiitte should resign as they have cause this awful mess by misunderstanding and not seeing how a vision was going to work out.Emma Rice is on a mission in the arts and it is mismatched with a venue that needs to play to all audiences...street,tourists,Theatre lovers,scholars and dreamers.They should go this week and let a new appointment panel seriously and without political correctness or desire to be in the zone make the decision on who..male or female...can take the place forward for everyone.My God....they must have the passion for Shakespeare or don't even bother to interview.Imagine the music director of CBSO saying,I don't like classical music or......National Gallery director saying...ok,boys out with Caravaggio and Titan lets convert the spaces for graffiti art.
A careful consideration will spot names out there,all of which will be under the microscope in next months.Of course,the freelance life may be much better than being tied to a house.Lucy Bailey threw us all into a gladiatorial arena with her Titus....was that not radical experimentation....? Eve Best,a fine actor and director whose passion could unite all wings of Shakespeare production,and it may be folly,sure it is,yet Michael Boyd is the man who revitalised RSC and created one of the finest ensembles in Stratford for years also with an ntelligence and understanding of form.
So there we are,thoughts of today but deeply concerned about next 12 months and if this continues we may face wreckage on Bankside from which it will takes years to recover.
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Post by partytentdown on Oct 30, 2016 16:05:23 GMT
From my understanding of events passed on by a friend, the lights etc are hired but still expensive - the Globe is fairly well off but this has left a bit of a hole in finances. However, this is nothing new for the Globe - things like the world tour last year cost a fortune and left a gaping hole in the budget that Emma Rice inherited. Don't be surprised to see ticket price hikes or reductions in show budgets in the coming years.
Plus the rumours of.........
internal rifts between some long term employees who believed the Globe's mission/unique selling point revolved around the shared light experiment and that had fundamentally been removed, thus 'null and voiding' a lot of the work carried out by the internal education/research teams, visiting scholars, etc
the 'digging up' of evidence from the archives that suggested Sam Wanamaker's 'vision' banned the use of lights and amplification in the theatre, and a sense of going against his will
a drop off in membership renewals from long term supporters
an initial sense of unhappiness from staff and volunteers in the way the new management were ignoring the successes of previous seasons i.e. most previous actors have not been welcomed back, old photos and posters have been removed, so called 'benefits' for staff like after shows parties have been slashed etc
grumbles from some board members, here and abroad, many of whom had pledged money to the upcoming building project
grumbles from volunteers, who refused to work on the 'new style' shows, hated new uniforms, hated the new direction, and made it very well known to the management team
pressure on the CEO/board to stand up and either support or go against the new artistic direction to stop further in-fighting
loud shouting from particularly vocal critics and social media people including a sustained letter writing campaign and 'trolling' of every social media post
...all of which basically came to a head last week.
It is clear in the CEO statement that he is distancing himself from the decision made from the board but I fear the after-effects of this decision were not anticipated and may be felt for many years to come.
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Post by foxa on Oct 30, 2016 16:15:58 GMT
The above makes sense - it sounds like it was more than just the lighting/mics.
Poor Globe. This is just the year of polarisation, I reckon.
I also read that a charity which gives small but regular amounts to the Globe (I can't remember the name of the charity - it wasn't one I'd heard of) was now withdrawing its donations in protest at Rice going. So sounds like, no matter one, a large number of people are going to be unhappy.
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Post by Honoured Guest on Oct 30, 2016 17:18:38 GMT
It is clear in the CEO statement that he is distancing himself from the decision made from the board but I fear the after-effects of this decision were not anticipated and may be felt for many years to come. When the RSC's artistic director, executive director and deputy artistic director immediately publish a statement condemning the action of the Board of Shakespeare's Globe, it must be obvious to everyone that this is utter disaster for the credibility of Shakespeare's Globe from an artistic point of view. I suppose it will remain a leading (shared) light in the fields of academic research and authentic keyrings and tea towels.
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Post by Jan on Oct 30, 2016 17:22:06 GMT
err - because the Globe didn't use (and therefore own) that sort of equipment before? They would have had to hire/buy it. That's money that could have been spent elsewhere. No-one's said that a financial crisis was precipitated but there will have have financial consequences. It's good to see that the papers, social media and message boards have started to take a somewhat calmer, more measured tone as the end of the week arrives. I'd imagine that the reduction in Twitter-chatter will give the Globe a bit of space to get things sorted out future-wise! The eqiupment is not that expensive, not for a theatre like the Globe. One look at their accounts and it brings into question the veracity of everything they say. It isn't credible. How much is it then ?
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Post by Honoured Guest on Oct 30, 2016 17:31:01 GMT
The exact cost doesn't matter. Every other theatre has light, sound and scenic designs. Yes, they incur costs which must be budgeted for, but every other theatre manages to do this.
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Post by Coated on Oct 30, 2016 18:50:43 GMT
New employee doesn't work out. Everybody has a grumble and moves on. The world does not end.
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Post by kathryn on Oct 30, 2016 22:39:36 GMT
The exact cost doesn't matter. Every other theatre has light, sound and scenic designs. Yes, they incur costs which must be budgeted for, but every other theatre manages to do this. That's a bit of a silly thing to say. Of course it matters - if the cost of a production is more than the revenue then it makes a loss! Every other theatre will be amortising the capital investment they make in lighting rigs and sound systems across a number of years, because they will be used on every production, and setting ticket prices accordingly to cover those costs. Every other theatre does not sell large numbers of tickets for a fiver, or subsidise an educational arm.
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