I am working on a submission to the Bench theatre company of a proposed production of "Hamlet". My last production as a director was November 2007, when the play was David Hare's "Racing Demon". We are lucky enough to have a Bench Theatre website at www.benchtheatre.org.uk and so I was able to look back and read my own notes on the play. I was definitely in a political mood even then and certainly found myself in accord with a great deal of what David Hare has to say. The following two quotes are taken from those notes and are copyrighted by David Hare himself.
"The one thing I have learnt and understood from five years' study is that British society needs not to abolish its institutions, but to refresh them. For, if not through institutions, how do we express the common good?"
I still believe the above to be true but am not sure how to go about refreshing the institutions. It is one of the reasons I am interested in local politics. In conversation with my brother in law, Christopher Caddy, who was, before he retired, Chief Planner for the Vale of the White Horse, he was discussing the frustrations of being a minority party local councillor. Excluded from the corridors of power, such as the Executive, even majority party councillors can feel marginalised and out in the cold. This can impact on one's ability to serve one's constituents.
I am indebted as always to Trevor Hare for his comments and the one on the Queen revealed a great deal to me. Yes, it was the Queen to whom I referred as a rich woman, not my mother in law, Trevor. Trevor's comments also resonated with me as I read the second quote from my "Racing Demon" notes. I am not sure where I got this quote from but I believe it was from a book written by David Hare. Although, as I have said before, I love collecting such quotes , I am not always scrupulous about their source.
When I give bread to the hungry, they call me a saint.
When I ask why the hungry are hungry, they call me a communist.
I am getting cold feet about the submission. I think it is because I am not totally clear in my own head as to why I want to do it, which is rather a Hamlet type situation to be in. I began to try out some of my proposals on the Best Beloved yesterday as she is a member of the Artistic Panel. She is a tough questioner and after a very short while I began to feel my enthusiasm wane. It wasn't the response she expected and so she was a little upset. The truth is I was arguing with my head but my heart wasn't engaged. Am I offering a production because I can rather than because I want to? I believe I am a good director but can I be bothered getting off my arse to prove it?
The production would rely on the black curtain surround on offer at the Arts Centre and building up a stage area using the Arts Centre's own blocks. The latter would need hardboard covers so some expense there. I am not doing the designer's job but rather cutting my cloth to fit the basic ideas. I haven't resolved the stabbing in the arras problem although have a couple of ideas in mind. I would like to use large laundry baskets, probably four, as props and onstage storage and as furniture and even part of the stage. (At this juncture, the Best Beloved asked what I would do about storing these things afterwards. I can see the logic of the question but always wonder why the person asking fails to see the broad sweep and magnificence of the idea itself.) I would use the majority of the production budget on hired Jacobean costumes. I am tired of productions set in modern times or in eclectic costumes just because they are cheaper to produce. I would want the wardrobe department to concentrate on looking after and organising the costumes (possibly even their collection from and return to the hirers) rather than making or designing. I would like the July 2008 fortnight slot. I would like the fortnight because I believe a production of this scale needs eight performances rather than five of the one week offered in September 2008. The play will grow during the performances. I would like to concentrate on filling the seats of the first three nights from within our membership and supporters in particular as these would still be preview nights as far as I was concerned. The Sunday and Monday in between performances could then be used to rework any aspect considered necessary. Each preview night would have notes provided by director. After that the show would be allowed to run solely under commend of stage manager. The News reviewer could be invited any of the three preview nights as the review is useful to spread word of mouth for the second week and could be published as late as the Monday of the second week. Tuesday of that second week may also need a substantial push from the production and box office team. I will be going on holiday for a fortnight in the rehearsal period but these rehearsals can be run by the stage manager from the book. The cast can reinforce lines and moves while I am away. Hopefully I will come back refreshed and with a new impetus - could be a scary prospect for the company!
As this seems to have become a Bench Theatre posting, I am on the lookout for raising £250,000 towards providing the Bench with rehearsal space. Any ideas as to how this money could be raised would be gratefully received. A lifetime in public service does not prepare one for the entrepreneurial skills required for such a project.
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