The RSC Key celebrates 10,000 members

Hello to all of our RSC Key members! We hope you're keeping warm with lots of hot chocolate and by dreaming of summer with our Summer 14 productions. Here at the RSC we're very excited as the RSC Key recently celebrated reaching 10,000 members. Our latest blog post comes from one of our Marketing Interns, Ryan Brown, who tells us all about helping with a press photo call with our lucky 10,000th member.

Having undertaken a six month work placement in the RSC’s marketing department, it is very exciting to be working as a part of the RSC Key, especially when the RSC Key recently celebrated its 10,000th member. This prestigious title was awarded to 21 year old Hannah Cammock from Stratford-upon-Avon. Lucky Hannah won a bag full of RSC Key goodies (including a pretty sweet notebook and mug) as well as tickets to see the fantastic Wendy & Peter Pan!

Hannah also got to have an exclusive photo shoot outside of the Royal Shakespeare Theatre (the turmoil of being a Key celebrity, eh?) as part of an article for the Stratford Herald. When Lucy (Marketing Assistant and manager of the RSC Key) and I met Hannah, she was over the moon and hugely excited about being the 10,000th RSC Key member. She couldn’t stop laughing when she saw her companion for the photo shoot: our giant Key.

Hannah Cammock (L) with Lucy Dwyer (R)

 

When asked for a quote from the Stratford Herald, Hannah said the following:

"As a theatre lover I’m thrilled to be the 10,000^th member of the RSC Key.  I joined the RSC Key because I think it’s a great opportunity to introduce more young people to the arts and especially the Royal Shakespeare Company. Personally for myself, it is an affordable way to see upcoming performances, and I’m hoping to try and see everything this year."

We'll hold you to that, Hannah!

Hannah Cammock

The day was a really rewarding experience for everyone involved. Being a part of RSC Key history was very exciting - who would have thought we would reach 10,000 members since it started in 2010? It shows you that young people want to see theatre (and want £5 tickets!) and who knows, hopefully we will be celebrating our 20,000^th Key member soon.

If you have friends that are aged 16-25 and are still not a member of the RSC Key then what are you waiting for?! Get them to join online for FREE today - and read the published article in the Stratford Herald here.

Ryan Brown

The Heresy of Love: The Final Push

To be allowed into the inner sanctum of the RSC – that is the auditorium during the final technical and dress rehearsals – is a humble treat. ‘The Heresy of Love’ opened on February 2^nd but the final days of January were a tense, feverous time for the cast and creative teams as lighting, sound and costume were all introduced to each other and performed in tandem with the actors.

‘The Heresy of Love’ follows the life of Sor Juana Ines de la Cruz in Mexico as she struggles with the weight of being one of the brightest women of her generation while reconciling her love for God with her desire for learning and public acclaim. Catherine McCormack takes on this monumental womanly role, supported by the RSC Ensemble who are presenting the Spring Season in the Swan which comprises of ‘Measure for Measure’ and ‘Written on the Heart’ as well as ‘Hersey’.

As an intern for the Marketing Department I was kindly allowed to shadow the lighting designer Ben and the Chief Electrician Kevin and observe the final days of rehearsal.  The director Nancy, the Stage Manager Suzy and her deputy and assistant, the designer Katrina and a whole host of people were dotted around the auditorium and backstage as the scenes ran through their lighting states and the actors through their lines.

During public performance the creative team are rarely seen by the unassuming patrons but during this final rehearsal process the techies sit huddled around a semi circle of desks erected in the stalls.  Their faces always appear to be lit up by the light emanating from laptop screens and control desks, with the occasional desk lamp shedding a little more luminescence into the dark auditorium for the team to work by.

And then the final push begins: the house lights are down, the stage lights are up switching from state to state as Ben whispers to Kevin via the personal audio system that the designers and stage managers and technicians all tune into. Lanterns are plotted, focussed and the intensity of light is tweaked and experimented with until Ben and Nancy are happy with the atmosphere and environment that the lighting creates.

The technical rehearsal can be a long and arduous process, especially for the actors who must stand poised on stage, mid scene as changes are made and problems solved, but it’s a critical process and every production from the humblest play to the grandest musical must go through this stage of rehearsal.

I had been warned of insults and curses being thrown across the stage in fatigued frustration, of angry actors and tense technicians, of flying scripts flung in defiance and much stomping and groaning and sulking. Much to my disappointment the cast and creative team of 'Heresy' were well behaved and retained civility – a few lines were forgotten along the way of the Dress, and the set didn’t always yield to the will of the performers, but no one was even close to throwing a ‘Queenie’!

The Dress run came down with a few hours to spare before public performance and the last thing to be staged was the curtain call – it took a few attempts to get everyone bowing in time to the correct side of the auditorium and there was a great deal of debate on how many bows to take and when to direction to the orchestra for their applause. Much to everyone’s relief, Nancy soon sorted the thespian rabble out and then they were free to go...until it would be time to do it all again, and this time for real!

If you fancy learning more about Sor Juana Ines de la Cruz and this beautiful production of her life, then catch ‘The Heresy of Love’ playing in the Swan Theatre until 9^th March.

Photograph courtesy of Robert Day with words by Amelia Cartwright, aged 19.

Taste of Theatre by Emily Philpott

Do you know you want to work in theatre but are unsure what part?

The RSC can provide the answer. They gear a brilliant work experience programme designed to give its entrants the chance to experience the broad range of theatre careers rather other than just the performance side. For every 1 actor the RSC puts onstage there are 7 other contributing backstage that makes this possible, from marketing and stage management to lighting and automation.

I recently completed the week and it was completely eye-opening! I knew I wanted to work in theatre but had absolutely no idea there were so many jobs I had never even heard of that contribute to the wonderful production that appears on stage.

The scheme aimed at year 10 and 11 students has been running for four years now and it has grown to include a vast array of the RSC’s departments who run hands on activities to give you an insight into what they do. On day one the group was taken to the Timothy Bridge Road workshop where all set and props required are drawn up, made or sourced. We were lucky to see the Matilda rework in progress for the transition to London this year. The workshop also holds floors of achieved props from seasons that go right back to the 1970’s, a huge highlight was to sit Cleopatra’s throne from Michael Boyd’s production of Anthony and Cleopatra.

During the week we also got to watch the lighting sound and set change in the theatres repertoire from Macbeth to The Merchant of Venice (or should that be Vegas?). We were shown by the automation team how the children are lowered in Macbeth; NB: standing on the grid 15m above the stage in the fly tower is not for the faint hearted! In the costume design session we got to see current and future costumes in the process of being made and what they use to make them look ‘worn in’. We had a full tour of the new theatre backstage and got to see the amazing wigs and make-up department.

The marketing department gave us the chance to make a poster advertising The Merchant of Venice. As well as being creative we also had to think about what audience we were trying to appeal to as well as a lot of other factors. The lighting department showed us the lighting desk and how to cue and run the show (fun was had with making the set pink). Although the aim of the week was to broaden students’ knowledge of jobs past the performance, the acting side was not forgotten; we had a voice workshop with Michael Corbit which taught us how: ‘words are merely words, without feeling they are nothing but just because it is Shakespeare doesn’t mean we should be scared of them’.

It was an amazing week to see and work with so many well known practioners that are top in their field. We all left the week with a broader knowledge of just how many other creative jobs theatre has to offer rather than just performance.

The week was truly inspiring and I completely recommend it to any student who wants to find out more about different jobs in theatre! If you would like to apply keep an eye on the RSC website their application process starts again later this year.

Emily Philpott

Jude Evans reviews The Merchant of Venice

Directed by Rupert Goold

Royal Shakespeare Company, Royal Shakespeare Theatre, Stratford-upon-Avon

Wednesday 18th May 2011



Photo: Ellie Kurttz



Yoda, Batman, an Elvis impersonator and a Barbie doll Portia – Goold’s production has it all. There are lots of laughs to be had; Goold certainly shows what makes this play a comedy. But, whilst emphasising the comedic elements, the play’s problematic side also rears its ugly head with considerable force. Goold shifts us from the hilarious to the utterly uncomfortable and grotesque in a production which truly grasps what Shakespeare’s play is about.

Goold thrusts his audience into a Las Vegas casino with showdancers, extravagant costumes and Elvis songs, sung by Jamie Beamish’s thoroughly entertaining Launcelot Gobbo. Tom Scutt’s design is striking for its gaudiness, bright blue with gold-railed staircases and an image of a golden-haired Vegas woman at the top, disturbingly resembling the shape of a cross. Initially, I wondered what I had walked into, and it took a good half hour to see how a Las Vegas setting could speak to Shakespeare’s beautifully problematic play. Despite the occasional moments when the American accents detract from the lyrical language, the result is: it works.

The Las Vegas setting reveals a world of excess and obscene wealth, where money is part of an ongoing game, constantly being exchanged from one pair of hands to another. Scott Handy’s Antonio is a man made ‘sad’ by his gambling losses, and Patrick Stewart’s Shylock is the grand master unusually assimilated into the Christians’ world. Pretence and falseness, both to oneself and to others, appear governing forces in a society of self-seeking individuals. Goold’s production reveals an incredible truth about Shakespeare’s play, that all the characters possess a cruel, unpleasant nature, and to sympathise with any verges on being absurd.

A shared racist attitude towards Shylock, and indeed the princes of Morocco and Aragon, steadily builds over the course of the production, culminating in Portia’s remarkable vindictiveness in the court scene. Stewart’s initially integrated Shylock is forced to envelop himself within a Jewish identity; he dons a cap and performs a short dance as an affirmation of his Jewishness, a beautiful touch. Stewart’s is an understated performance, one which effortlessly captures Shylock’s transition into a man driven into isolation and increasingly, also disturbingly, obsessed by the reward of a pound of flesh.

Challenging preconceptions, Goold places Portia at the centre of his production. And it is here that Goold makes his boldest move. Rather than the perfect heroine in her idyllic green world, Fielding’s Portia and her Belmont reflect the money driven city of Las Vegas. She is turned into a reality T.V. star, and her casket challenge a game-show, Destiny. This striking, southern-girl Portia appears a figure of superficiality until she surprisingly whips off her glamourous blond wig in front of Bassanio, revealing the face behind the celebrity doll. From then on, Fielding’s Portia spirals into loneliness as she begins to face her true reality of being trapped in a loveless marriage. It is a performance which on occasion feels a little too jarred, but one which will likely smooth out as the production progresses.

That course towards isolation and loneliness is most beautifully captured by Caroline Martin as Jessica, a role so often forgotten about. She begins alone in her father’s household, before leaving with lover Lorenzo to a seemingly more comforting world offered by the Christians. But the ending conveys her realisation of their treatment of Shylock; she walks away from Lorenzo conflicted and detached from everything.

Goold once again proves himself to be a daring director with this bold and innovative Merchant, almost certain to divide its audience. It stands as a most memorable production, not least because of its extraordinary final image: solitary figures spread across the stage accompanied by Elvis’s Are You Lonesome Tonight?

Jude Evans, age 22

Luke Harris reviews The Merchant of Venice

Directed by Rupert Goold

Royal Shakespeare Company, Royal Shakespeare Theatre, Stratford-upon-Avon

Wednesday 18th May, 2011

Rupert Goold is known for his radical, conceptual directorial style. For the RSC's new production of 'The Merchant of Venice' he transports the world of Venice to the city of gambling, Las Vegas.

An entertaining and energetic pre-show establishes the themes of American culture and the atmosphere of a money orientated society. The glamorous and exuberant set, designed by Tom Scutt, involves gold plated staircases, TV screens and fruit machines. Rick Fisher's fantastic lighting design is suitably extravagant and music by Adam Cork supports the seamless scene transitions, often including Elvis Presley. Never could I imagine the King of Rock'n'Roll, the Glee hit 'Don't Stop Believin' and Duck Sauce's electronic dance track all featuring in a Shakespearean production.Portia and Nerissa, played brilliantly by Susannah Fielding and Emily Plumtree, are MTV, Paris Hilton-like celebrities who host a game show to find a fitting suitor. It's crass and tacky but captures the comedic side to the play which is often ignored. Caroline Martin's Jessica is geeky and awkward, making something out of a slightly overlooked role. Patrick Stewart's Shylock is just as impressive as one would expect from a quality Shakespearean actor . His portrayal as a  humane yet narrow-minded Shylock is captivating and his Jewish heritage deepens and develops through all of his five scenes climaxing in an absorbing court scene which keeps you hanging off every word. Even though I know the story, the energy and atmosphere produced on-stage was rightfully intense and absorbing.

Goold's cinematic, story-telling aesthetic makes you feel like you are watching a blockbuster film, Ocean's Eleven style. His bold visual flair and his brave concept choices will split audiences, especially a traditionally reserved Stratford audience. Some will argue that his daring conceptual style diminishes the integrity of Shakespeare's themes, characters and story. But the world Goold and the ensemble create works, embracing the spectacle of the glitz and glamour of modern celebrity culture. There are imaginative moments throughout including a car ride and an elevator scene. Goold's genius reminds us all why he is one of the foremost British directors of our age as well as strong candidate to takeover the National or RSC in the future.

It is a thoroughly entertaining production that once again showcases the capabilities of the new thrust stage. Whether it will be a critical success is the big question, however I do believe it will encourage a new, younger audience to the RSC and that is why Goold is such a valuable asset to the company. Get a ticket and enjoy the magic!

Luke Harris, age 22

Jude Evans reviews The City Madam

Directed by Dominic Hill

Royal Shakespeare Company, Swan Theatre, Stratford-upon-Avon

Tuesday 10th May, 2011



Photo: Ellie Kurttz




Massinger’s seldom performed play gets the outing it deserves on the Swan stage. Dominic Hill’s production shows just how wonderfully funny it really is, with the actors performing the heightened characters to superb effect. But beneath its laugh out loud surface, the production reveals the play’s deeper concern with the destructive forces of selfishness, greed and desire. Hill proves just how modern and relevant this play is for us today.

Set in the London of Charles I, Massinger’s city comedy dramatises the opulent and decadent nature of the Caroline reign. We follow Luke Frugal as he enters the household of his older brother, Sir John, where he is looked down upon by Sir John’s social climbing wife and daughters. Suddenly left in charge of the household, Luke begins to be corrupted by the world of money and wealth he has entered into. His journey is peopled by many characters, from those of new and old money, to a prostitute and a stargazer.



The audience will frequently be tickled by Hill’s production. Elaborate costumes, make-up and wigs are enough to trigger suppressed giggles, and coupled with the actors’ haughty mannerisms it is difficult not to burst out into laughter. But the play’s darker side is never far away. The elaborate features appear a sign of grotesque greed and opulence when viewed against Tom Piper’s brilliantly simple set. The design later complements the plain, prisoner-like costumes which appear as the production progresses. Tim Mitchell’s lighting also works to great effect. The stage is dimly lit by footlights giving the actors a rough, harsh appearance, and creating a dense atmosphere in the relatively small space of the Swan Theatre.



In a play with a large number of characters to portray, all roles are well performed by a strong ensemble cast. Jo Stone-Fewings is excellent as Luke, capturing his shifting nature as he becomes increasingly corrupt. The foolishness of Lady Frugal and her daughters is superbly played by Sara Crowe, Lucy Briggs-Owen and Matti Houghton who even manage to bring a touch of vulnerability to their roles and elicit a small amount of sympathy. And in the underworld, Pippa Nixon’s Cockney prostitute, Shave’em, is highly entertaining.

This is certainly a thoroughly enjoyable production, and one which resonates with our own time. It is wonderful to see the Swan back in full flow with stagings of seventeenth-century drama. And long may it last.

Jude Evans, age 22

Young People's Forum - 20th April

On a gorgeous sunny evening outside the Swan Theatre the RSC Young People’s Forum met to discuss all things RSC. All thirty-something of us introduced ourselves, and it was great to see new faces and those who’d been before.

The first discussion topic was what the next RSC Key competition should be. The first idea was creative writing. Some were in favour of this, others thought it might be too narrow. It spurred a lot of other suggestions including visual art options, multimedia and a more open creative competition allowing RSC Key members to use whatever creative skills they have.

From this discussion developed ideas of running sessions at the RSC prior to competitions, in creative writing or multimedia or another area, in order to enable all members to feel they can enter. And on a side note, we all agreed that we would be interested in sessions about the work of different departments at the RSC, such as Marketing.

The next discussion topic was an ambassador scheme, with the idea of having some Forum members representing the RSC Key in different venues, including schools and universities. We talked about how many there should be and how to become an ambassador.

Finally, a question was raised about the name of the Forum, whether it should stay the RSC Young People’s Forum – a little lengthy – or have a new title called the RSC Key Forum – a little sharper.

All discussion topics will be developed in the next couple of months, so keep checking Facebook, Twitter and the Blog for future information!

Jude Evans, 22

Anna Laycock reviews King Lear at the new Royal Shakespeare Theatre

Directed by David Farr

Royal Shakespeare Company, The Royal Shakespeare Theatre, Stratford-upon-Avon
Friday 25th February 2011

Although I did not know King Lear well, I still was very keen to watch it being performed at the new Royal Shakespeare Theatre last week. I was most excited to see one of the first performances on the new stage, and to see for myself whether the thrust layout really is much more effective than the proscenium arch.

From the moment I walked into the foyer of the new theatre I knew that I was entering into something very grand, the front of house area really has been transformed and is much more spacious. Instead of being cramped into one space, audience members can browse in the shop located by the box office, or wonder round the corner to the cafe, explore an exhibition room, have a bite to eat at the Rooftop Restaurant or just simply wait by the theatre bar and admire the view over the river basin. Touches like, projecting photographs from past productions onto the wall beside the cafe and the opportunity to add your message to a web of words keep audience members waiting to take their seats entertained.

When I took my seat at the back row of the upper circle I knew I did not have to worry about not hearing or seeing the action as even being right at the back I was no more than 15 feet away from the stage, much closer than the back seats of the old theatre. Also, the thrust stage made the special effects involved so much more effective such as the rain falling on Lear and sandbags falling from the ceiling, effects that would not have worked as well at all in a proscenium arch space. Furthermore, the play made good use of the space, playing to all sides of the auditorium so that all audience members felt involved.

Greg Hicks made a brilliant King Lear, his portrayal of an authoritive leader descended into madness always had an element of black comedy as well as tragedy. Sophie Russell made a highly entertaining Fool, often making the audience laugh. Another stand-out performance was Tunji Kasim as the manipulative Edmund, who with his cunning words almost managed to win over the audience.

Overall, my experience at the new RST was highly enjoyable and will certainly be an experience I will be having many times again!

Anna Laycock, age 19

Photo by Manual Harlan

Liberty Jackson reviews Matilda, A Musical

Directed by Matthew Warchus

Royal Shakespeare Company, The Courtyard Theatre, Stratford-upon-Avon

I remember when I first found out that the RSC were staging a musical production of Roald Dahl’s Matilda. I had just sat down to watch their 2009 production of Arabian Nights. I opened the programme and was flicking through when I suddenly saw an A4 poster advert for Matilda. I was 16 at the time, (I’m 17 now) and my dad turned to me and said, ‘Won’t you be too old then?’ I looked at him like he was mad – my favourite book, my favourite film, being put on stage, and as a musical... I was so excited! I enjoyed Arabian Nights immensely, but throughout I couldn’t quite get over the fact that Matilda was being made into a musical – in my hometown!

Fast forward to November 2010 when Matilda, A Musical opened.  With the book and indeed, film adaptation as iconic works in the arts industry, I was intrigued to find out how Dennis Kelly and Tim Minchin would make their mark on the RSC’s new production.

I feel privileged in two ways; not only was I lucky enough to see Matilda five times, I was also fortunate to see each team perform! My first visit to the Courtyard to see Matilda, I saw the team headed by Kerry Ingram as Matilda. Even as I was walking to take my seat, I was in awe of the set, and couldn’t help looking up until I spotted the swings. I had already seen the RSC’s promotional video, so I knew what the swings were used for – but I couldn’t wait to see it live! From the opening bars of the band, until the concluding cartwheel, I was covered from head to toe in goose bumps and was taken away, encapsulated in this wonderful story.

Kerry’s portrayal of Matilda was a completely unique take of the character. Her vulnerability instantaneously won the hearts of the audience, whilst still maintaining Matilda’s feisty character, as demonstrated particularly well in Matilda’s first solo song, Naughty. Joining Kerry was an unbelievably talented bunch of children, or should I say actors, who had every ounce of professionalism held by their older colleagues; namely, James Beesley, who played Bruce. His character could be that of a ‘disgusting criminal’ as supposed by Bertie Carvel’s fabulous, show stealing portrayal of Miss Trunchbull. However, his cheeky smile and sensational voice won me over in an instant. Tim Minchin’s lyrics for Revolting Children suited his personality perfectly, and as we had previously fallen in love with Kerry, we fell for James.

About a week later, I came to the courtyard again, this time to see Josie Griffiths as Matilda. Her confidence was second to none, and despite a few slip ups she had the audience as putty in her hands. Again, her supporting cast was faultless and Rebecca Stoll’s performance as Lavender, Matilda’s feisty best friend, was exceptional. Lauren Ward’s portrayal of Miss Honey was enchanting, and at the end of her solo number, My House, I had tears rolling down my cheeks. Once again, Mr and Mrs Wormwood were real life caricatures, played to perfection by Paul Kaye and Josie Walker. Their comedic value echoed that of Matilda’s parents in the film adaptation, played by Danny DeVito and Rhea Pearlman.

Adrianna Bertola’s interpretation of Matilda was enchanting; she had complete command of the stage right from her opening song, Miracle. Her confidence convinced the audience the RSC had made the right decision in letting children take on the lead roles, where before they would’ve been given to adults. Matthew Malthouse’s character Rudolpho was becoming more hilarious with each visit. (Two words: Energy – Flow!) The stunning setting, which on the surface seemed simple, was incredibly versatile, transforming seamlessly from the Wormwoods house to Mrs Phelps library and beyond. Melanie La Barrie’s Mrs Phelps was exceedingly good, winning over every single audience, and I’m sure, cast member, acting as our internal monologue on stage. The carefully crafted storyline, the ideal casting and delightful songs left every person I know stunned. Male friends of mine cringed with embarrassment telling me that, actually, they really enjoyed the performance.

Matilda is a production that will leave an impression on everyone who has the opportunity to see it, and I’m sure will be entertaining audiences for years to come. It has something for everyone, and in the opening number of Act Two, When I Grow Up, these seem to blend together. Adults and children alike are left, not only in awe at the skill of the swingers, but reminiscing and realising ambitions. It is an example of why we should never doubt theatre’s ability to amaze, as confirmed with the Amanda Thripp scene. The choreography, stunts and voices are something that I thought previously could only be achieved in films after months of editing. Well done RSC!

Liberty Jackson, age 17

The RSC Key takes a look at the RSC Rooftop Restaurant

Rooftop Restaurant Review

RSC's new dining experience sits head and shoulders above Stratford's other restaurants.

By Daniel Douglas

With well over fifty options for an evening meal within the town, it's very difficult for a restaurant in Stratford-Upon-Avon to offer something new. The RSC's recently opened Rooftop Restaurant, however, does exactly that. Situated on the third floor of the newly refurbished building, it offers stunning views and exceptional food in a stylish and unique setting.

Sitting amongst the Art Deco furniture, under fantastically high ceilings and soft lighting, the place oozes understated elegance and sophistication. The restaurant curves dramatically around the building in a sweeping arc; long, thin and graceful, with a bar at either end. It's evening, and the floor to ceiling glass panels which look out onto the town are peppered with tiny lights from the streets below. The relic wall, dark red brick on one side, whitewashed on the other, divides the space, giving a close, intimate feel to what is in fact a very large area (the restaurant's full capacity is over 100). The wall also evokes history, and is one of many aspects of the Rooftop Restaurant that blends past and present.

The menu itself brings together innovation and tradition, with starters such as seared skate and pork cheek with butternut squash and raisin relish, main courses like Middle White pork fillet with butter poached potato, apple and black pudding, and desserts such as baked ginger parkin with rosemary syrup and beer sorbet. Unusual cuts of meat, rare breeds, regional cooking and eyebrow-raising combinations come together to make an exciting and original menu.

Wherever possible, ingredients are locally sourced, from the Cotswolds and the Vale of Evesham, for example. The menu changes regularly, and an effort is made to include seasonal produce. Every recipe is resolutely British-sounding, even to the point of being ludicrous; the undeniably French créme brulée is disguised under the pseudonym of Cornish burnt cream.

Everything I ate was excellent, and I cannot wait to return. The food is beautifully presented, and the flavours well-balanced. The sirloin of beef with cashel blue potato cake and baby beetroot was truly delicious; tender, succulent and bursting with flavour. The chocolate mousse with tangerine compote and hazelnut brittle (pictured) looked and tasted wonderful; the richness of the chocolate contrasting with the acidity of the tangerine and the crunchy, nutty hazelnut. The service was efficient, polite, patient and knowledgeable. A special mention must be given to the cocktails, which were absolutely first class, and far better prepared than anywhere else in Stratford. So, if you're 18 or over, take a seat at the bar and enjoy one after your meal. I guarantee you won't be disappointed.

In terms of price, a meal for two could cost upwards of £100, but with the fixed price menu offering two courses for £14.95 and three courses for £17.95, eating here doesn't have to break the bank. RSC Key members, don't forget that you are eligible for a 10% discount on all food and drink at the Rooftop Restaurant.

To make a reservation visit www.rsc.org.uk/visit-us/stratford/rooftop-restaurant, or call 01789 403449.

           

Matilda Review by Jude Evans

Matilda, A Musical

Directed by Matthew Warchus

Royal Shakespeare Company, The Courtyard Theatre, Stratford-upon-Avon
Friday 19th November 2010

With the recent success of the new work Morte D’Arthur, the RSC seems to be on track for another winner with its new musical adaptation of Matilda, and it is just that: a winner. Directed by Matthew Warchus, with book by Dennis Kelly and music and lyrics by Tim Minchin,Matilda, a Musical is a delight for children and adults alike.

Roald Dahl’s Matilda is a classic, capturing the joys and the hardships of childhood. Matilda lives with her foolish, ignorant parents, and at school encounters her cruel headteacher. But with her miraculous mind, her many books, and the lovely Miss Honey at her side, Matilda succeeds in defeating the intimidating adults around her.

The wonders of childhood and its darker side successfully translate from Dahl’s novel to Kelly’s book. The addition of Miss Honey’s back-story is initially a little confusing, but it becomes a kind of doubling of Matilda’s own childhood and serves to strengthen the bond between child and teacher. Minchin’s lyrics and music work beautifully alongside Kelly’s text. The songs capture the nature of each character; ‘Naughty’ reveals Matilda’s vivaciousness and her wisdom. All are entertaining, with many thought provoking and moving.

Rob Howell’s set design is in the style of Quentin Blake’s original drawings. Letters and books adorn the stage reminding us of the wonders of literature. (It is a lovely touch having letters and blackboards displayed throughout the theatre entrance and foyer). Lighting is used to great effect, especially as it portrays the nightmare of choking.

Blake’s drawings are brought to life by wonderful costumes, hair and make-up. Trunchbull’s appearance is just what we might imagine, blotchy red eyes and thick, chunky belt, and so is that of the Wormwoods in their gaudy, loud outfits.

At the heart of the show is Adrianna Bertola’s Matilda (also played by Josie Griffiths and Kerry Ingram). She brilliantly portrays both Matilda’s innocence and insightfulness as we see in her early bedroom scene. We are all drawn to Bertola’s Matilda; she holds her own on stage when performing alone and when performing with the adults, quite remarkable for one so young. She is well supported by a delightful cast of children who all give good performances. Together they exude the energy and vibrancy of childhood.

Lauren Ward is the caring, patient Miss Honey, who forms a strong relationship with Bertola’s Matilda. This relationship is beautifully portrayed in the scene at Miss Honey’s house. Ward’s Miss Honey and her pupil contrast significantly to the Wormwoods, played by Josie Walker and Paul Kaye who capture the parents’ foolish and grotesque nature. Bertie Carvel’s man-in-drag Miss Trunchbull is both monstrous and funny, drawing many laughs from the audience. This casting emphasises the masculine nature of Trunchbull, whilst Carvel also reveals a slight vulnerability to the character.

With the production still previewing there are a few timing and technical glitches here and there – a clash of swings, props hitting the stage set and rebounding onto the stage, a few missed out words – but this is to take very little from an already excellent production which can only grow from here. Warchus, Kelly and Minchin present us with a heart-warming and laughter-filled show, reminding us of the Dahl story we all know and love. We are absorbed into that little girl’s world of stories, magic and wonder.Matilda, A Musical is a lively, moving – yes, there may be a few tears – and thoroughly enjoyable Christmas show for everyone.

Matilda, A Musical runs at The Courtyard Theatre in Stratford-upon-Avon until 30th January 2011

Jude Evans, Age 22

8 December 2010

Wednesday 8 December was an incredibly exciting evening for me as it was the first time I had been to the new Royal Shakespeare Theatre, and there were two fantastic events on - Sound and Fury and the first RSC Key event - Winter Warmer.

My friend Lottie and I both agree that we couldn't have had a better evening. From the friendliness of the RSC staff, the wonderful spaces within the building, the show itself to the socialising afterwards, everything was great and we loved it all! We took lots of pictures and also interviewed the cast of Sound and Fury after the show. So there are reviews, photographs and interviews to come!

Sita Thomas, Age 20