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The RSC in Stratford, 2014 HEATON, Caroline Available from Sheffield Hallam University Research Archive (SHURA) At View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Revolting Women, Roaring Girls and Bloody Men: The RSC in Stratford, 2014 HEATON, Caroline Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/14379/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HEATON, Caroline (2016). Revolting Women, Roaring Girls and Bloody Men: The RSC in Stratford, 2014. Masters, Sheffield Hallam University. Repository use policy Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in SHURA to facilitate their private study or for non- commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. Sheffield Hallam University Research Archive http://shura.shu.ac.uk Revolting Women, Roaring Girls and Bloody Men: The RSC in Stratford, 2014 Caroline Louise Heaton A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Master of English by Research September 2016 Abstract Revolting Women, Roaring Girls and Bloody Men: The RSC in Stratford, 2014 Caroline Louise Heaton, September 2016 Master of English by Research, Sheffield Hallam University The Royal Shakespeare Company (RSC) states that its purpose is to produce “an inspirational artistic programme each year, setting Shakespeare in context, alongside the work of his contemporaries and today’s writers” (2016, online). This purpose has remained largely unchanged since the company's inception in 1961, as has its commitment to maintaining its Stratford-upon-Avon home as the primary base for the delivery of its artistic programme. Within the context of Gregory Doran’s assumption of the Artistic Directorship of the company in 2013, this thesis provides an academic appraisal of the Stratford-upon-Avon productions contained within Doran’s first summer programme as Artistic Director, in 2014. The purpose of this analysis is to explore the ways in which Doran sought to meet the RSC’s continuing stated purpose, as a leading publicly-funded arts institution in the twenty-first century. The Stratford-upon-Avon season from March to October 2014 incorporated all three of the RSC’s play categories, across three performance spaces: Shakespeare in the Royal Shakespeare Theatre (Henry IV Parts 1 and 2, and The Two Gentlemen of Verona), Shakespeare’s contemporaries in the Swan Theatre (badged as the Roaring Girls season), and new writing in The Other Place at the Courtyard Theatre (in a short season entitled Midsummer Mischief). The season thus provided a suitable focus for this critical analysis. THE ROYAL SHAKESPEARE COMPANY (2016). About us. [online]. Available at https://www.rsc.org.uk/about-us/. Last accessed 25 July. Candidate’s Statement The primary purpose of this thesis is to carry out an academic appraisal of the Royal Shakespeare Company's theatrical productions in Stratford-upon- Avon in the summer of 2014, with a view to assessing the company's approach to fulfilling its stated aim of producing dynamic, distinctive, and inspiring theatre which incorporates Shakespeare, his contemporaries, and new writers. The work takes account of the impact of the new Artistic Directorship of Gregory Doran at the Company, from 2013. I hereby declare that this thesis is my own individual work and effort, and that this work has been produced for the sole purpose of submission in partial fulfilment of the requirements of Sheffield Hallam University’s Master of English by Research, and has not been submitted for any other qualification or award. No assistance has been received in the production of the content of this thesis and the work has not been submitted anywhere else for any award. Where other sources of information have been used, they have all been acknowledged, and all citable sources are listed within the Bibliography. Caroline Louise Heaton September 2016 Contents Introduction: “Screw your courage to the sticking place” i 1 ACT I - What’s in a name? The RSC in Stratford, 1961 – 2016 1.1 What is past is prologue 1 1.2 I am not bound to please thee with my answer 5 1.3 Suit the action to the word, the word to the action 8 1.4 All the world’s a stage 15 ACT II - Bloody Men in The Royal Shakespeare Theatre 17 2.1 False face must hide what the false heart doth know 17 2.2 How bitter a thing it is, to look into happiness through 34 another man’s eyes ACT III - Roaring Girls in the Swan Theatre 45 3.1 Pleasure and action make the hours seem short 47 3.2 Conscience is a word that cowards use 59 3.3 When sorrows come, they come not single spies, but in 72 battalions 3.4 Alas, I am a woman friendless, hopeless 85 ACT IV - Revolting Women in The Other Place 91 ACT V - The wheel is come full circle 106 Bibliography 115 Introduction 1 “Screw your courage to the sticking place” Established in Stratford-upon-Avon by Peter Hall in 1961, at a time when “state patronage of the arts was in the ascendant” (Chambers, 2004, p.xi), the Royal Shakespeare Company (RSC) was radical in its intention to become “Britain’s first large-scale, permanent repertoire company” (Chambers, 2004, p.ix). It “turned a star-laden, six-month Shakespeare festival into a monumental, year-round operation built around a permanent company” (Billington 1993, p.133). The RSC’s stated purpose was, and remains, to “stage the work of Shakespeare, his contemporaries and the most exciting new writers and performers of today, making every play an event”, and creating “dynamic and distinctive theatre” (RSC About Us, 2015, online). The new (2016) purpose also refers to the intention to produce an “inspirational artistic programme” (RSC About Us, 2016, online). In Studying Shakespeare in Performance (2011), John Russell Brown suggests that writing about plays in performance has gradually become “an accepted and often industrious academic pursuit” (p.5). This thesis therefore analyses the on-stage work of the RSC in Stratford, in an attempt to appraise the performance output in the summer of 2014 and evaluate the degree to which it fulfilled its mission to be dynamic, distinctive, and inspirational. The period of March to October 2014 saw the first summer season under the Artistic Directorship of Gregory Doran. It incorporated all three elements of the RSC’s play categories: Shakespeare (Henry IV Parts 1 and 2, and The Two Gentlemen of Verona) in the Royal Shakespeare Theatre; Shakespeare’s contemporaries (badged as the Roaring Girls season) in the 1 Macbeth, 1.7 (66-7) i Swan Theatre; and new writing (in a short season entitled ‘Midsummer Mischief’) in The Other Place at the Courtyard Theatre, thus providing a suitable focus for this critical analysis.1 The productions directed by Doran (Henry IV Parts 1 and 2, and The Witch of Edmonton) aimed to provide a strong visual representation of the Early Modern period, with their major emphasis being on the plight of the male protagonists at the heart of each piece. Conversely, the Midsummer Mischief productions, along with Arden of Faversham and The White Devil, were in modern dress and their key focus was on the conversations between their female protagonists and women in the twenty-first century. The Roaring Girl featured a modern-day female ‘hero’ caught in the Victorian era, and The Two Gentlemen of Verona was set in a stylish twentieth-century society in which women were attempting to contribute to the evolution of gendered roles. Each production had a number of distinctive elements, as part of a comprehensive season with a variety of directorial styles. It therefore offered a good an indication of the potential range of the RSC’s repertoire. Act I of this thesis provides a background to the 2014 season, by considering the RSC’s Artistic Directorships from 1961 to 2013. It also briefly explores the types of audiences which the company attracts, and how it fares in comparison to its leading London competitors. Act II provides reviews of the ‘bloody men’ productions in the Royal Shakespeare Theatre, and Act III analyses the ‘roaring girls’ who dominated the offerings in the Swan Theatre. Act IV explores the ‘revolting women’ who voiced their opinions in The Other Place, and Act V, provides reflections on the degree to which these productions were successful in meeting their intentions to offer dynamism, distinction, and inspiration. 1 Summer 2014 season announcement available at https://www.youtube.com/watch?v=MwVwimPjJRw ii ACT I 1 “What’s in a name?” : The RSC in Stratford, 1961 - 2016 1.1 “What is past is prologue”: Peter Hall to Adrian Noble (1961 – 2003) When Sir Peter Hall established the company in 1961, a key feature of its identity was its commitment to the principle of the ensemble, which it says is made by “working together with trust and mutual respect over sustained periods of time”, enabling actors and directors to “experiment and develop our craft” and “gain a deeper understanding of each other and of the plays”, with the intended result that “the whole is greater than the sum of its parts” (RSC 2015, About Us, online). Trevor Nunn described this commitment as demonstrating an identification with “the whole enterprise instead of just with a new production; the sense that we were committed to improve, to become more expert” (O’Mahoney 2005, online).
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