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

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

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