London Arts Tour - Conclusion

Finally, a few words on the conclusion of our trip. Tea at Gorings, was fine, although I had hoped it might be served without interrupting discussions. Dinner “in the neighborhood” was a fitting end to an exciting week. Most of us had time to pursue a few personal missions while in London. I benefited greatly from early morning walks, the opportunity to spectate at the Globe (“In Extremis,” a rewriting of a play on the 10^th Century love affair between teacher and student, Abelard and Heloise, which was surprisingly uplifting; it may come as a shock that a play featuring the castration of its hero can be metaphorically or otherwise labeled “uplifting,” but you had to be there to appreciate it. Carolyn accompanied Maria and me on our holy tour of Westminster Abbey and St. Paul’s, each in their own way churches glorifying the state and its servants, with a brief stop in Covent Garden. When Maria needed privacy to perfect her cough, Carolyn and I soldiered on, without Maria’s pin point map-reading skills, to the War Cabinet’s bunker and Churchill museum just off HorseGuards and then, by river, to Greenwich where we set a new world’s record for shortest tour of the Painted Room (magnificent tribute to the Hanoverian kings and implicit glorification of Handel who I imagine composed the music which accompanied the royal family from London to Greenwich and back), refectory, exterior of the Queen’s House, and Maritime Museum. Miraculously, we returned just in time to clean up for another exciting evening of theater. For those planning another trip to London, Greenwich is a must, but you are advised to spend more than 50 minutes there.

It was a fine trip. Rick was accessible to all and, I’d like to think, gathered some new ideas to add to his commitments to New Reps continued growth. Hoping to see all of you again, soon.

- Bill

The National Theatre

At several points, most notably in our meeting with the Manchester Guardian’s theater critic, Michael Billington, we discussed our different preferences

In theater, contrasting the didactic, verbal appeal of, say, LANDSCAPE performed admirably at the Cotesloe (?) stage in the National Theater from the truly astounding, effective, and surprising A MATTER OF … performed in the adjacent, Olivier Theater of the NT. It would be hard to find two such different visions of theater. Joe Penhal crafts a tight, four character play that challenges all of us, not just scientists engaged in developing weaponry, to consider the consequences of our acts. Should, for example, the manufacturer of shoes be governed solely by what sells for the biggest profit, or should he/she use replenishable materials, purchase manufactured products only from places that don’t exploit workers, concentrate on styles which improve posture and don’t damage feet …. (Apply your own ethical challenges.) I think he set up such discussions brilliantly partly because he did not pose great philosophers against each other, but rather traced the origin of the main character’s ethical growth to the clumsy dialogue of his flawed brother. Indeed, as someone in our group, I think it was Rick, said, neither the woman nor Brooks were compelling advocates for their side. They relied, not on social arguments but rather on convenience and barely disguised menace. Incidentally, I found certain physical elements in LANDSCAPE to be particularly good: the gradual physical degradation of the principal and Brooks’ menacing as he entered the scientist’s space, crossed behind him, and pranced around without a belt to his trousers. (Why? What that a wardrobe mishap?) Those of us who prefer such plays, I imagine, view theater as the opportunity to re-explore our own realities – not as entertainment as much as continued learning that burrows into some often hidden recesses of our minds and lives.

On the other hand, we learned in many ways that the state of theater does not solely depend upon intellectual fashion. Economics rules, even in the subsidized confines of the National Theater. Filling seats as well as increasing endowments are what, eventually, allow theaters to experiment. For some, theater provides a particular environment to release thoughts, not only in response to a didactic or language driven play, but also in response to an “event,” the merging of art forms in novel ways. In that sense, A MATTER OF … assaults us with metaphors. There is, of course, the spinning coin which dictates our fate. There is, also, the bumbling conductor who doesn’t always complete his assignment on time. But perhaps the strongest metaphor is our attempt to defy gravity, whether falling out of a plane or climbing moving beds.

Somewhere in the middle lies Equus. Directors have considerable choice in displaying the non-verbal elements of the play. In the production we saw last week, the malleability of the geometric set contrasted with the highly articulated versions of the horses, from reverberating hoofs to architected heads whose eyes hypnotically glowed until they were blinded. Dysart displayed the vulnerability of the analyst, the likelihood that in discovering Alan’s secret he is exposing his own secrets. A number of us commented on the one discordant choice, the beautiful, taller, seductive, and more experienced young woman drawn to Alan. Will she survive in tact? We don’t know.

- Bill

King Lear

Let me try, from memory and a few notes, conclude my comments on the week, concentrating on our day in Stratford on Thursday through our departure Sunday morning.

I won’t follow chronology exactly because in an earlier blog, written on Saturday, I shared some observations of our encounter at tea on Friday with Tristam (!) who played Peter’s role in A MATTER OF LIFE AND DEATH, but otherwise ignored events of Thursday and Friday.

We were well prepared for this year’s Lear thanks to an ingratiating visit with Jonathan Hyde (“Kent”) before the performance. I found that meeting him (he and all of the persons who addressed our group were riveting in style – they all spoke at times directly to each of our group – as well as substance, but Jonathan was perhaps the most engaging) particularly fortuitous. Of course, the play casts its heroes and villains without much subtlety, but I found that after meeting “Kent” I had a clear rooting interest; I cared less, alas for Lear than I did for Kent. Alas, neither audience nor chance were asked to rewrite the ending. I took away from our visit to Stratford:

· Shakespeare was reared by an upcoming, ambitious father and may not have been quite the country bumpkin (that seems a word taken from Shakespeare) the Oxfordians portray him as. Carolyn, incidentally, has more to say to support the notion that Shakespeare did, in fact, write what he is credited for.

· The type of stage influences the production. Here, in the temporary theater which the town insists self-destructs in five years, the thrust into the audience added greatly to entrances and retreats, involved the audience frequently, but also interrupted sight lines.

· Even at the Vatican of Shakespeareana, cutting a play is allowed and, as we learned, costuming choices abound.

· The recordings of great speeches at the Globe made clear that readings vary tremendously and that emphases sometime accord with timebound styles.

· If you want to see the actors after the performance, the Dirty Dog is the place to be. (Query: is there a place to which they go to drink BEFORE the performance?)

· The return of Frances Barber as Goneril was not matched with any acting pyrotechnics. Indeed, her previously repressed younger sister, Regan, physically demonstrated a blood-thirstiness at Gloucester’s blinding that was, for me, the most notable aspect of the production, eclipsing even Lear’s brief nudity. I was reminded of the appalling savagery of some our troops during the hazing and humiliating of prisoners at Abu Gharib. How civilized are any of us when faced with the humiliation of enemies? Do we not have to remind ourselves of our common humanity whenever tempted to extol our schaudenfreude? (There’s a good chance that at least one of you will correct my German spelling.)

Quite rightly, so much of our language and, more important, our metaphors stem from the Bard of Avon. It was a privilege, on the same trip, to visit both the Globe and Stratford and to find Shakespeare as living theater.

- Bill

Leigh Barrett Wins the Norton!

Leigh Barrett took home the Elliot Norton Award on Monday, May 21, 2007.

OUTSTANDING MUSICAL PERFORMANCE
Leigh Barrett, Ragtime (New Repertory Theatre)

Congratulations Leigh!!

London Arts Tour - Tuesday

Lots of action last day and a half. The particularly good news was arrival of Carol and Mitchell who added intellectual resources and charm to our group.

Some 46 years ago, I stumbled upon two precursors of Impressionism, Puvis de Chavanne, while looking for the Mona Lisa in the Louvre, and JM Turner at the then Tate Galleries while seeking refuge from intense rains. Nor surprisingly, our first order of business while on free time was to set off for Tate/Britain where more than four galleries are devoted to the largest collection of Turners anywheres.

We arrived at Gallery 9 only to be told that the Turner galleries were closed while paintings were being re-hung. Assuaging our disappointment the compassionate guard told of us three Turners on the second floor and an annex, outside the main Tate/Britain building, devoted to Turner. The suggestion led to revelation, of a truly educational facility for scholars and amateurs alike, where we explored transformations in colors (especially water colors and exemplified by how shadows can be expressed as colors). We tried to duplicate some of Turner's drawings, learn about his refutation of Goethe's color wheel, and begin to appreciate all the more what this giant, some 50 years before Impressionism swept European art, anticipated most of its precepts and, in fact, produced a greater range of experiments with changing color and light in landscapes.

While at Tate/Britain we explored an installation celebrating the demonstrations of David Haws in the shade of Parliament against the combined war against Iraq, beginning with our trade embargo. Haws' protest is commemorated thanks to a statutory accident. Parliament decreed it illegal to conduct 24 hour protests within 1 mile of Parliament. The one mile line bisects Tate/Britain, so, naturally, a black taped indicator of the one mile limit purposely bisects the installation of Haws signs, sleeping accommodations, and related paraphernalia.

Our other notable discovery at Tate/Britain was a quote from the 19th century English artist, Stickert, who proclaimed that real art is not for the drawing room but the kitchen. DISCUSS!

In the still new and exciting National Theater we met with Tom Morris, a delightful and unpretentious theatre type who co-adapted A Matter of Life and Death for which we have tickets later in the week.

He talked about the development of the Knee High theatre group in Cornwall in which cast members intensely discuss scripts which, in the process with the result that they rewrite the plays they perform. In addition to describing the creative process in which he and Emma Rice were able to produce A Matter of ..., Tom also discussed the financial realities of both privately-financed theatre, that must appeal to broad tastes and subsidized theatre whose vitality has been revived by the introduction of 10 pound plays, i.e. plays where a substantial number of seats are reserved for those who can afford only 10 pounds for their seats.

- Bill Brisk

London Arts Tour - Tuesday

Earlier today, Tuesday, we were privileged to discuss contemporary politics (mainly British, to some extent European, and to a lesser extent American) with Polly Toynbee, columnist for the Manchester Guardian who has won a number of awards and is, rightly, known as one of Britain's brightest commentators on political movements. Polly has written HARD WORK which involved much the same work that Barbara Ehrenreich explored in NICKLE AND DIMED. Her compassionate treatment of Tony Blair, which she certainly does not venerate, was an antidote to much that we have heard about the end of a 10 year run. She noted his accomplishments lay mainly in domestic economic-social policies including a prolonged effort to end child poverty (which has had actual results), similar attempts to avoid the growing gap between rich and poor, revitalization and refunding of the health system, the avoidance of economic crises with prolonged growth over an unprecedented decade, and the rise of private housing. Polly estimates that 70% of Britons now own their residences, a striking change which may have something, ironically, to do with a popular trend against Labor policies. Everyone I talked with following Polly's performance agreed that she was intelligent, eloquent, and yet conversational.

- Bill Brisk

London - Monday

Producing Artistic Director Rick Lombardo was joined by 11 of New Rep's most enthusiastic patrons on the 2007 London Arts Tour. Here, Bill Brisk keeps us informed on what they are all up to over there.

Monday evening we attended Billy Elliot -- The Musical, a play which Rodney claimed was among the most innovative in London. Others contend that it is the UK's leading musical -- ever. Basically, the story of a 12 year old caught up in his father's and other's protest against the Thatcher plan to close antiquated coal mines and convert the industry into private hands, its humor and pathos are both drawn from the incongruity of a miner's son attracted from boxing to ballet dancing. Elton John's music is immediately accessible without being memorable. 'Solidarity Forever' reverberates constantly. We were privileged to be entertained by an extremely qualified young lad who danced, sang, and acted as well as virtually any adult might. The play ended with a rousing curtain call which incorporated an encore, featuring the dancing not only of the principal but of many of the actors who had previously not danced in the play.



Some discussion afterwards attempted to ponder whether Billy Elliot could be translated directly to the U.S. Rodney pointed out that some of the humor and texture of the play is due to its director's insistence that the 'gordie' accent of Northern Yorkshire be maintained and that many in the U.S. would not be able to relate to a British mine workers strike that occurred some two decades ago. The Full Monty, may be an example of 'translating' such a play to an American audience. We didn't discuss 'Brassed Off' a movie of the same error as Billy Elliot.

Rick's critique of the lyrics was well founded; a number of the songs included only single choruses, leading to repetitions that added little to the narrative of the play. All agreed, however, that we had attended an extraordinary performance of a worthwhile play and that, as a musical, the ply made some trenchant points about past and present politics. In one light moment, a character announces that unfortunately the local M.P. could not attend a union meeting, but he would be ably replaced by a young politician on the rise who was committed to the Socialist cause, Tony Blair.

- Bill Brisk