Happy New Year from the RSC Key

We'd like to wish all of our RSC Key members a Happy New Year and to say thank you to those of you who came to our Christmas Pub Quiz in December. It was wonderful to see so many of you there enjoying yourselves and, although it was extremely close, we’d like to give a huge congratulations to the winning team The Tiny Foxes! Our latest blog post comes from one of our Marketing Interns, Sian Bateman, who gives us the lowdown on the event.

As an intern in the Marketing Department at the RSC, you wouldn’t believe the variety of tasks and experiences I encounter week on week. As part of my individual project with The RSC Key, I was invited to attend the pub quiz at The Dirty Duck - an exclusive event for RSC Key members! The thought of drink, free nibbles and some challenging trivia was something I just couldn’t resist - oh, the hard life of an intern!

Some last minute equipment testing and the placement of some RSC Key sweets (Tutti Fruity) upon the tables meant we were raring to go; now all we needed was some theatre enthusiasts. Within about a minute the empty Duck was filled with Shakespeare supporters and pub quiz lovers alike, great start! The thing I enjoyed most about this event was the atmosphere created with just a few RSC staff, a microphone and plenty of RSC Key members. The cheer when the ‘Shakespeare Round’ was announced just proved how relevant Shakespeare’s theatre is, even now, and I was encouraged to see how much enjoyment can be gained from a shared interest.

Now I must apologise to the RSC Key members for the 200+ photos I took that evening, I got a little snap happy when handed a very nifty piece of equipment (oops).

In addition to the pub quiz, some of our members took part in vox pops and were interviewed about their thoughts on the RSC Key. It was amazing to hear all the positive reviews and feedback on a scheme I’ve been assisting with for the last month, which, for me, makes it so much more worth my effort.

I’d like to thank everyone that attended our event as I thoroughly enjoyed it and hope you did too, I can’t wait for the next RSC Key event to be announced! In the meantime, check out our gallery of photos from the evening.

Until next time!

Sian Bateman

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

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

Anna Laycock reviews Cardenio - Shakespeare's 'Lost Play' Re-imagined

Shakespeare’s ‘Lost Play’ re-imagined
Directed by Gregory Doran
Swan Theatre, Stratford-upon-Avon
Wednesday 20th April 2011

Whether Shakespeare really wrote a play about “Cardenio” or not, we will never know. However, in my opinion, the authorship of the play does not matter, Greg Doran’s re-imagining of “Cardenio” allows the play to be excellent in its own right and not because of any links it may have to the Bard.

“Cardenio” is the result of literary archaeology from the RSC. In 1772, Lewis Theobald claimed to have obtained three manuscripts of an unnamed play by Shakespeare which he edited and published under the name of “Double Falsehood”. “Double Falsehood” has the plot of the Cardenio episode in “Don Quixote”. Using both “Double Falsehood”, “Don Quixote” and other sources Doran has managed to re-imagine the story for a modern audience to enjoy.

From the beginning the audience are transported into the world of sixteenth century Spain, as we find ourselves looking inside a domineering Catholic monastery. Religion is a prevalent motif throughout the play, and appears a controlling force, with characters questioning and blaming God for what happens to them. However, the lustful behaviour of the leads, Cardenio and especially Fernando, along with the pagan villagers and Spanish flamenco style music provide a contrast to the formalities and rules of Catholicism.

Much like a Shakespearean comedy, the play centres around two couples kept apart from their lovers due to disapproval from their families. Cardenio is in love with Luscinda, but her father insists that her father give his approval before the relationship continues. On the other hand, Fernando falls in love with Dorotea, a farmer’s daughter, thus his love threatens his reputation and status as the son of a Duke. The play has many very funny moments, yet, the tone changes throughout the piece and comes close to tragic just before the interval before reviving itself for the denouement where confusions are resolved and the couples reconciled reminiscent to such comedies as “A Midsummer Night’s Dream” and “Much Ado about Nothing”.

The new fiftieth birthday season ensemble is a group of very strong performers, not only can they act but also in “Cardenio” we witness members singing and dancing. The four leads particularly stand out; Oliver Rix portrays the charming Cardenio descend into madness after losing his lover with flair and whereas Alex Hassel may look similar to Rix in looks but his character, Fernando, is clearly the mischievous antagonist of the play. Pippa Nixon as Dorotea displays the subtle insecurity of the possessed and abandoned farmer’s daughter perfectly in the first half before gaining confidence and self-assurance towards the end. Furthermore, Lucy Briggs-Owen highlights both the innocence and strength in Luscinda’s character.

The motto “the show must go on” came into effect during the performance when the fire alarm went off about forty minutes into the first act and the audience, staff and cast members all evacuated outside the building. It might be said the alarm is the fault of Shakespeare’s said-to-be cursed play, Macbeth, which was being performed next door in the Royal Shakespeare Theatre, although luckily the curse did little to affect the performance as it was a false alarm and the show continued as if nothing had happened.

Doran’s "Cardenio" is a highly joyful experience of theatre. For once all credit must be given to Doran, the ensemble and the team of design, music, lighting, sound, and movement directors for the creation of Cardenio rather than William Shakespeare.

Anna Laycock, age 19

Dan Hutton reviews Cardenio - Shakespeare's 'Lost Play' Re-imagined

Shakespeare’s ‘Lost Play’ re-imagined
Directed by Gregory Doran
Swan Theatre, Stratford-upon-Avon
Wednesday 20th April 2011

The performance reviewed was a preview performance. Press night is Wednesday 27th April.

In a recent directing workshop, I was given one sterling piece of advice to remember when trying my hand at directing: “You’ll never be as good as Shakespeare”. What’s beautiful about Greg Doran’s so-called ‘re-imagining’ of Shakespeare’s Cardenio is that in all the publicity and in performance it never professes to be as good as anything the Bard could have written, constantly taking a tongue-in-cheek look at the classic Shakespearean comedy.

Piecing together pieces of Lewis Theobold’s Double Falsehood (which was supposedly based on a manuscript of Fletcher and Shakespeare’s Cardenio), Shelton’s translation of Don Quixote and Doran’s own ingenuity, the tone of Cardenio is never able to shake off the feeling of being a cross-centuries collaboration. Some lines feel solidly Elizabethan (“There’s not a maid whose eye with virgin gaze/ Pierces not my guilt”), but elsewhere relatively modern (“There is a woman, sir, there is a woman”). This doesn’t matter, however, for the themes of the play – those of consent and deceit, favourites of Shakespearean comedy – go hand in hand with the atonal language.

It is a perfect formula for a Shakespearean comedy; two men fighting over one woman, even though one of the men is already married. Through disguise and treachery they eventually get what they want and everyone lives happily ever after. The character of Doritea – the second woman – is questionable, as she returns to the man who abused her in the style of Hero, but the strong speeches she is given in the second half of the play remedy that somewhat.

Doran’s joyful production revels in the references to other comedies while taking a look at the darker undertones of religion in the play. Paul Englishby’s remarkable score reverberates around the small space, taking us from brazen ritual to quiet prayer. Niki Turner’s semi-reflective set, lit by Tim Mitchell, facilitates these tonal changes, and the strip of mirror revealed at the back of the stage suggests we are only peeking momentarily into the history behind this lost play.

The four young leads all impress. Pippa Nixon as Doritea copes well with a difficult role, gaining confidence later in the play and showing a strong resolve, even if the script doesn’t. Lucy Briggs-Owen’s Luscinda, the object of the two male leads’ desires, is charmingly innocent, being won over by Oliver Rix’ exuding charisma in his professional debut as Cardenio. Most impressive is Alex Hassell in the role of the loveable antagonist Fernando, a deeply flawed character who wins our empathy through hilarious asides and looks to the audience. Among the strong ensemble, Christopher Ettridge and Christopher Godwin both stand out as the two surprisingly liberal (for Shakespeare) fathers.

Fittingly for the RSC’s Fiftieth Birthday season, Cardenio offers a meta-theatrical look at Shakespearean comedy, straddling five centuries and being fully aware of its roots. It’s unlikely to become part of the canon anytime soon, but it’s no doubt a production which Shakespeare would be able to watch and recognise as something he had a hand in creating.


Dan Hutton

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

Daniel Douglas talks to our new Restaurant Manager

Chatting Up In The Air

Restaurant manager David Williams talks about the RSC Rooftop Restaurant

by Daniel Douglas

David, let's get straight to the juicy bits. Tell us about the menu.

Well, we wanted to offer something a bit different to people: unusual tastes, exciting combinations. There are some great, quirky, innovative things on there. As for the cuisine, it needed to be British really. We're not in France, afterall. There are traditional elements that we've tried to revitalise, as well as the best in modern British cooking. Our aim is to source as much as possible locally, to offer seasonal produce, and to bring out the fullest of flavours in everything we cook. The fixed price menu will be changing every four to six weeks, and the dining room menu every few months.

If you were eating here tonight, what would you have?

I think maybe the Middle White Pork – it's phenomenal. The Middle White is a breed of pig that was famous prior to the Second World War for its superior taste, and was very popular. It went out of circulation during the war, where meat rationing led to a quantity over quality approach to breeding. The meat is wonderfully tender, and it melts in your mouth.

You look very suave and sophisticated sitting in that armchair with the low lighting– very bond villain.

Haha. Thank you very much. There is an area here with sofas and armchairs, and a relaxed feel, perhaps for a pre-theatre drink, or some snacks, or a coffee. The main restaurant area is also very stylish I think. We tried to make it intimate, and softly lit. The relic wall has been retained, an homage to the old, and splits the restaurant in two. This complements the modern furniture, decor, crockery and glassware chosen. Like everything else, the setting is a fusion of old and new.

I came here about a month ago with some friends, and I must say everybody thought that the food, drink, and service were all fantastic.

Thank you very much. We've received a lot of feedback from customers, and generally it's been very favourable. There's something for everyone. Tender, succulent slow-roasted meat for the carnivores, unusual cuts such as pork cheek for the adventurous, curious combinations like rosemary syrup and beer sorbet, sticky toffee pudding if you're feeling traditional, chocolate mousse with tangerine compote for the sweet-toothed.

What did you learn from that feedback? Is there anything you think you need to work on?

The restaurant is still developing, and we are working on lots of different things. One is the lack of choice for vegetarians – there is only one option currently – and hopefully that will be rectified with our next menu change. Many people, including me, love the atmosphere and being able to hear some of the sounds of the theatre as they dine: the bustle, the noise, the laughter, and so on.

Anything to say specifically to RSC Key members?

Yes, there is something for every taste, and every budget here. It's possible to spend a lot of money here if you so wish, but the fixed price menu is only £14.95 for two courses, or £17.95 for three courses. And don't forget, RSC Key members get 10% off all food and drink.