57 replies to this topic

[Lynette]

I posted before reading HG's post above. I think there are problems in the Olivier and the Lyttleton. The Lyttleton in particular has had acoustic probs right from the off.

[armadillo]

Lynette, on 07 February 2013 - 11:27 AM, said:

I thought it was only me! What is it about the lack of projection these days? The old guys have no problem. You can hear a whisper in the gallery so to speak but some of the young actors just don't project. Do they think it is artificial because if done right it ain't. I remember sitting right at the back of the gallery in the old RSC in Stratford back in the day and right at the top of the Old Vic and you could hear every word and no shouting. Before I start sounding like the old fogey I am fast becoming, there are plenty of actors under 40 [!] who can hack it so why not all?

  I'm always amazed when I see drama student productions in Edinburgh at how many are miked even when the space is only the size of my living room. Do they all assume they're going to be working in telly so don't need to make themselves heard futher than 6 foot away?  

As for the play - dull, dull, dull. But completely full despite having only one name in the cast. I had no idea he (or Weimar-era comedy) was such a draw.

[Honoured Guest]

armadillo, on 07 February 2013 - 12:00 PM, said:

I'm always amazed when I see drama student productions in Edinburgh at how many are miked even when the space is only the size of my living room. Do they all assume they're going to be working in telly so don't need to make themselves heard futher than 6 foot away?

Drama schools train their students for all work - theatre, film, broadcasting, etc. It sounds as though the small-space public performances that you've attended are part of the tv and film training where sound would be produced to be recorded and "projection" would be completely inappropriate. Unless the "living room" in Armadillo Towers is a vast baronial hall, of course.

[armadillo]

Honoured Guest, on 07 February 2013 - 01:20 PM, said:

Drama schools train their students for all work - theatre, film, broadcasting, etc. It sounds as though the small-space public performances that you've attended are part of the tv and film training where sound would be produced to be recorded and "projection" would be completely inappropriate. Unless the "living room" in Armadillo Towers is a vast baronial hall, of course.

  Well, obviously should a troupe of strolling players visit Armadillo Towers, they'd need megaphones... Actually I must have seen dozens of miked student performances, even ones by students who are definitely on (sometimes quite prestigious)  musical theatre courses, who can't even project to an audience of 30 in a room over a pub.

[Snciole]

I wonder if Colin Haigh is Sher's understudy http://www.whatsonst...haigh#entry3532


I think Olivia Poulet may also be a draw for some. She was very good in Top Girls. The National Theatre are in a odd predictment-Sher seems to bring the bums on seats and the glorious cash that comes with it but really average/terrible reviews. You can only blame the director/writing so much and if that is the case why is Sher so bad at choosing plays? Especially as he is in the (fortunate?) position of being in a civil partnership with one of Britain's most successful and now powerful Artistic Directors.

He'll be back again at the National, won't he?

[Epicoene]

musicals fan, on 07 February 2013 - 07:40 AM, said:

One point I have raised before - I was seated in the front stalls and could clearly see that occasionally one or two actors were equipped with microphones; I do hope this isn't going to become the norm at the National

It has been the norm for years - during the Trevor Nunn era he miked nearly everything in the Olivier.

[Poly]

Snciole, on 07 February 2013 - 07:06 PM, said:

You can only blame the director/writing so much and if that is the case why is Sher so bad at choosing plays? Especially as he is in the (fortunate?) position of being in a civil partnership with one of Britain's most successful and now powerful Artistic Directors.

An Enemy of the People in Sheffield was one of the best things I have seen in recent years. And Broken Glass was also brilliant. And actors - even someone of his fame - don't have as much control and choice as you think they have.

[armadillo]

Poly, on 08 February 2013 - 03:38 PM, said:

An Enemy of the People in Sheffield was one of the best things I have seen in recent years. And Broken Glass was also brilliant. And actors - even someone of his fame - don't have as much control and choice as you think they have.

  The lesson may be that he's not a very good judge of new/unknown plays. But few actors are going to resist a leading role at the NT (especially when there's no competition from other stars in the cast)

[wickedgrin]

Yes, actors can make strange choices. They have to work at the end of the day and some do not have the choice of material they might like. Also they can tend to look just at the part offered and judge on that alone - is it the lead? is it a showy part? does it showcase me? etc without thinking too much about the piece as a whole. Some actors are poor judges of material.

[Snciole]

I feel bad for questionning his choice in new plays at the National. He turned down one new play once and regretted it forever http://www.guardian....portrait-artist