They Get It
Posted by Ian Barford on 1/09/2009We’re coming toward the end of our sojourn here at the Royal National Theatre and it has truly been extraordinary. The National is an incredible place to work.
For one thing, the actors performing at the theatre at any given time share a common courtyard from which they can (if curtains are open) see each other. We’d heard that when one company at the theatre (there are 3) is at the 5 minute call of it’s opening performance, the actors from the other shows all bang on the windows and howl with encouragement and support. Curiously we waited for the 5 call on our opening night, and sure enough - surrounding us all were these smiling faces, banging on the windows, howling their support. We were deeply touched by this tradition and just this past weekend, as Oedipus was closing, we returned the favor. Closings are not the traditional moment to do “the window banging” and both War Horse and Oedipus had opened by the time we arrived so it was wonderful to see all the Oedipus cast members throw open their dressing room curtains (in genuine surprise) and take in our heartfelt support of them. Ralph Fiennes, (Oedipus) as yet somewhat reclusive, was beaming and waving, clearly moved by our support.
The community which develops from sharing our courtyard and perhaps more importantly our canteen is a great feeling. Many of the cast members of War Horse (a stunning production) have been so gregarious and inquisitive about our process, and about what makes us tick as theatre people. They’ve all been hugely supportive of our show. Thankfully, there’s a little more generosity toward Americans since our recent election and we’ve certainly heard support on that score. But, the idea of producing (under one roof) 3 productions which sometimes are from different countries is an important cultural idea. As of now, the British government subsidizes 36% of the National’s budget !! I’d heard a statistic some years back (unverified) that the city of Berlin receives more money from the German government for theatre, than the entire US national endowment for the arts. The National has a restaurant, bar, bookshop, huge open space for people to congregate, talk, reflect, relax and listen to live music. In essence, THEY GET IT. I know that these are tough economic times and perhaps the theatre is not, in comparison to some other things, an important place to spend money. But it’s been an enlightening experience to understand what such an investment in this art form can yield. Along these lines…another delight for all of us was to learn that we’re allowed 6 free Alexander lessons (a kind of breathing practice based on posture) and 6 free voice lessons. So great.
We’ve done the play now in Chicago, NYC and London. We’re regularly asked if there’s a difference in the response. The answer is YES. Subjectively speaking of course, the London audiences seem to really listen to the play. I know that sounds obvious but sometimes in NYC it was like a hockey game…waves of response based on the swings in the mood, like an audience hungry for the sheer entertainment value. Whereas here, they seem less inclined to vocalize responses and more inclined to follow the language. This is not to say that the humor doesn’t translate, because it does, it’s to say that they don’t want to miss anything. They’re keen observers of the play and performances. One way in which there is absolutely no difference is one that any actor can appreciate…the amount of COUGHING. The nemesis of any great moment in the theatre…the ill-timed cough. Another subtle difference is the standing ovation. We’d grown quite used to them in NYC and were initially concerned that they weren’t leaping to their feet but have since been instructed by the powers that be to not take this personally. London audiences are less likely to stand at the end. They do however, expect a 2nd curtain call. So…the quality of enthusiasm is expressed perhaps more in it’s length than it is in it’s volume. Even still, we do get people to their feet somewhat. Whether they stand or not…THEY GET IT.
January 11th, 2009 at 7:18 am
Also from an audience POV yes they get it, the National Theater is a good place to be. The shops, restaurants, well placed bars, the huge lobby and very reasonable prices for tickets and food&drink make it an easy decision to spend an afternoon or an evening there. I’ve been lucky enough to see all three plays you mentioned and while the Puppets of War Horse were truly amazing and Ralph Fiennes was a captivating Oedipus, the ensemble work of the August cast made for possibly the fastest 3 hours of my life! Of the other performances I’ve seen in my week of indulging in London’s Theaters only ‘No Man’s Land’ was even more impressive (sorry people it’s closed by now) and possibly ‘Twelfth Night’… ah well, I’d say a shared second place with ‘August’.
After such a long run from Chicago to NY to London, the cast must be exhausted. Only a few more performances and you get to go home again. Thanks for making the journey to London, it was wonderful to see the play again a little closer to home (and yes it did seem funnier than when I first saw it in Chicago but I couldn’t really tell you why), we Europeans appreciate it very much, even though a standing ovation seems against tradition these days.
January 13th, 2009 at 9:57 pm
Now that you mention it, I did find a distinct difference in the three cities, London, NY and Chicago. After being in all three cities and being a part of the audience for countless performances, I must say that I still love the London theatre scene the best (might also be due to the fact that i lived 5 minutes from west end and bought student priced tickets for all three years of my undergrad there!)
I always tell friends that while in new york, theatre is a spectacle/event for both the performers and the audience, the english has made it into a way of life. school children go on a regular basis to the theatre as part of their curriculum (chocolate and ice cream at intermission helps) and they just grow up with it. there isn’t a mad crowd at the show an hour before for lotteries and there isn’t a mad crowd at stage door at the end of performances either- the only exception to the case was with equus i think… and maybe when idina menzel was in wicked. and yes, i was really disoriented the first time i watched something in the US and EVERYONE In the theatre stood up at the end. in london, raising one’s hands while clapping was significant enough for the actors to know that they did a brilliant job. (they tend to use ‘bravo’ a lot more too, something that i find much more quaint than random shouting and whistling.)
the irony here is that while this blog response is in the August category, I missed the tour as it travelled from Chicago-NY-London as I travelled from London-NY-Chicago. Just my luck.
i miss london, heard the weather has been crazy there, but whats that when you know chicago’s winds. hope the last few performances at the NT go BRILLIANTLY, as i am sure they will, and check out benugo’s bar and kitchen at the BFI if you have time, it’s my favourite space to sit and feel happy around the southbank area…
January 14th, 2009 at 5:44 pm
Dear Marja and Winnie -
Thanks for adding your views to our cyber-dialogue.
Yes…there is a cultural difference in the theatre from Chicago to NYC to London. Amy and I spoke to a local theatre group recently and among many other subjects we did discuss the various responses to the play. In general, the London audience seems keenly interested in the play. I do believe, Winnie, that you are correct in your assessment that the theatre is woven deeply into the English psyche whereas in America is exists more on the fringes. I remember when I was in a tiny town in West Yorkshire in 1990 - the National Theatre was touring a production of “The Trackers of Oxyrhynchus”. In the tiny village of Saltaire, near Leeds, the villagers set up hundreds of chairs in an old mill where one of the performances took place. It was astonishing to see such a professional and complex drama, played with great heart and vigor in a tiny village in an old mill. It’s hard to imagine such a thing taking place in the US. Maybe we should take one of our productions to an old barn somewhere in Kansas and see what happens…
With all of this being said, however, I believe Chicago is a tremendously vital city for the theatre. In some ways perhaps the most vital city in our country. There are substantive and healthy theatres with a variety of points of view that are alive and well in our city. More to the point, Chicago exemplifies in a very unique way the value of ensemble. Steppenwolf isn’t the only long-standing ensemble in Chicago though it is it’s most famous. Several of our UK compatriots have spoken to their deep and abiding appreciation for our way of working.
These are daunting and yet exciting times. Certainly the global economic crisis puts many people and institutions in a precarious place. HOWEVER, it also might be the portal to a new appreciation for ways in which people can come together. My personal feeling is that the future of the world depends on mutual understanding and respect and the theatre can be a place for a kind of communication like no other. People can’t always afford to travel all over the world to take in cultural events…but perhaps we can do more to bring the cultural events to the states. I sure appreciate the experience of having shared this play with London.
January 15th, 2009 at 4:48 pm
hi ian,
i cannot agree more that chicago is an amazing city with a great theatre scene, energy and character with people and theatres committed to the industry. it is a joy to be in, and although i still have the greatest longing to return to london, the theatre scene in chicago is greatly compelling too. i think however, that i will not learn her true value until i leave, which happens to be a perennial problem.
and by the freqeuncy of my visiting this blog, i think you should be able to tell that i love the steppenwolf! helps that it is in a fantastic neighbourhood.