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.

The life of a Marketing Intern - Amelia Cartwright

These days a job in the theatre can be somewhat hard to come by. 

Potential employees are often told that they need previous experience to be in with a chance of getting on the theatrical job ladder, but that forces the catch 22 question, "if no one will employ me then where will I get experience?!" 

An excellent way to get that much desired experience is through an Internship or Work Placement, and luckily at the RSC we have a successful and enriching Work Placement programme which is now recruiting for its Summer batch of interns.

 

The RSC Key decided to get the experience low down from one previous Marketing Intern, Matt Wernham, and here is what he had to say...

 When did your internship with the RSC take place?

 I was an Intern from September 2009 to July 2010

How old were you?

I was 20/21

At what stage of education/life would say you were at, at the time?

Well it was a bit of an odd gap, I was doing theatre work experience at a college as well as my internship at the RSC and working as a waiter so I suppose I would class it as a gap year although by that point I was in my 3rd gap year after leaving school.

Since completing the internship do you think it has directly influenced any advancement in your career in the theatre or a related industry?

I am now studying on the BA Acting course at Drama Centre London and I think it certainly helped in securing my place. Apart from it being an impressive and very professional looking credit on my CV the fact that it is in marketing, shows a willingness to experience other areas of theatre and understand the whole process of theatre making. I think there are plenty of actors out there who think that all theatre is about it going onstage every night and giving it your all for the audience, they don't see what it takes to get that audience into the theatre in the first place.  

Has your involvement in the internship been directly remarked upon by any subsequent employers or professionals?

Yes people have picked it out on my CV and asked me about the experience. It’s a great thing to talk about in an interview.

What was your highlight of the internship?

The run up to Arabian Nights an exciting time, the print material was fantastic plus I kept hearing whispers about some of the amazing things that happened in the show. But more importantly 'The staging area' a spot in the office where you can help yourself to chocolate/cakes/biscuits, that was a fairly major highlight!

What was your strangest/most surreal moment?

My most surreal moment was when I was working on the trailer for Macbeth, and found myself standing in the car park behind the RSC waterside space trying to melt a dolls face.

What was your biggest surprise about working with the RSC?

My biggest surprise was how down to earth everyone was, I suppose I thought because it was the Royal Shakespeare Company, the office might be a bit stuffy or pretentious but it is absolutely the opposite. Its just a group of friendly and passionate people who really care about the work they do.

Are you up to the challenge? You can apply now http://www.rsc.org.uk/about-us/work/vacancies.aspx

Amelia, 19

Thank you to Matthew Wernham for his contribution to the RSC Key Blog.

Anna Laycock reviews Matilda the Musical

Matilda The Musical

Cambridge Theatre, London
12^th November 2011
Directed by Matthew Warchus
Booking until October 2012

Matilda the Musical is definitely the best British musical in the West End, if not the best musical currently playing in the UK, or even the world. It is that good. I laughed, I cried, I play the soundtrack all the time and I have recommended it to everyone I know.  I may be obsessed, but I’m not the only one. I have not known anyone to come out from a production of Matilda and not love it. The Royal Shakespeare Company has created a work of genius that is sure to be viewed as a masterpiece of British theatre for many years to come.

After seeing the production twice at the Courtyard Theatre in Stratford last year I fell in love with the show and I could not wait to experience Matilda on a West End stage. Yet, I have to admit I was slightly apprehensive about the transfer from the rather intimate thrust stage at the Courtyard to the large proscenium-arch at the Cambridge.  There was a danger that the set would eclipse the performances and the story would lose some of its heart. However this did not happen at all. Rob Howell’s set design is magnificent, with colourful letters of the alphabet branching out from the stage allowing for the proscenium-arch to have a thrust like feel. Rather than overshadowing the performers and the plot, the set enhanced them, serving as a constant reminder of the underlining theme of the musical, the power of story-telling.

Dennis Kelly’s book is remarkably clever; it is, on one level, a simple retelling of Dahl’s tale of a young girl with extraordinary powers overcoming unloving parents and a cruel headmistress. However, on deeper level (one Lit students like me greatly appreciate!) the story is a metanarrative, a story about the process of storytelling and the power of the teller to “change their story”.  Therefore, the musical ingeniously appeals to children, adults and literature geeks alike.

The musical does advocate the importance of reading books, with our young heroine, Matilda, and the lovely Miss Honey being proud bookworms whereas the stupid Mr Wormwood and the villainous Miss Trunchbull are firmly against reading. The musical accentuates the role the library plays in Matilda’s life and the inspirational librarian, Mrs Phelps’ role as a friend and a mentor to Matilda.  The celebration of books and libraries can be seen as having an underlying political message in a country that is closing libraries left, right and centre.

 Tim Minchin’s music and lyrics are brilliant. Lyrics such as “My mummy says I’m a miracle” are simple enough for children to understand, yet Minchin always appeals to adult humour, my mum vouches that Mrs Wormwood in her “Hospital cotton with a smarting front-bottom” definitely appeals to any woman who has given birth! Minchin was born to write this musical, his comic wit guarantees it to be one of the most entertaining and funny musicals in the West End.

It is the talented cast that is the backbone of this production. Both the adults and children are outstandingly talented. When the cast come together as an ensemble for numbers such as “Miracle”, “School Song” and “When I Grow Up” the creative synchronized chorography coupled with the beautiful harmonies the effect is enchanting. Yet, individually the cast are also superb. Bertie Carvel creates a comical yet chillingly sinister Miss Trunchbull, his characterisation of the headmistress from hell is tremendous, allowing her to develop from Dahl’s archetypal villain to a psychologically complex character with an intriguing past history.

Lauren Ward is charming as Miss Honey, who is also expanded from being a simply “good” character to a complex character who is haunted by her past. We can really emphasise with Miss Honey’s lack of self confidence when confronting her boss and bully of an aunt in “Knock on the Door”. Her vulnerability is also depicted at the end of “When I grow up” where she wishes “to be brave enough to fight the creatures that you have beneath the bed each night to be a grown-up” highlighting that the musical is as much the bildungsroman (coming of age story) of Miss Honey as it is the story of Matilda.

Yet, it is Matilda’s musical and Kerry Ingram (one of four young actresses who share the role) proves that. Age is no barrier in this musical, Kerry Ingram danced, sung and acted just as hard and as well (if not even slightly better!) than the professionally trained adult ensemble. She highlighted both Matilda’s vulnerability and her strong determination to do stand up for what is right and to change her story.  Her solos “Naughty” and “Quiet” were outstanding, whenever Kerry was on stage all eyes were encapsulated onto her. I predict a future leading lady or even perhaps a world-class film star or singer, Kerry is so talented the world is her oyster.

Matilda the Musical is a work of genius, surpassing Danny DeVito’s 1996 film and even Dahl’s original novel.  The plot is simple, yet embedded within it is so many layers of meaning; you can watch it again and again without ever getting bored. Anyone who has not yet seen Matilda must go and see it. Above all, it is a first-rate night of entertainment that will leave you feeling full of joy.

Review by Anna Laycock

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