The Pit was not The Pits

I don’t always take stock of the many theatrical performance venues which I’ve visited over the years, which can sometimes lead to a theatrical memory immediately coming to the forefront of my mind. This was the case when discussing a play with fellow blogger Russ the other day; this play had been featured at The Pit in The Barbican Centre within the City of London.

I visited the Barbican at least five times; twice in 2004, once in 2005 and twice in 2007. Two of those visits were to the aforementioned Pit, way in the basement of the Brutalist complex. When I refer to the “ground floor”, as it is better known in European terminology, I don’t mean simply walking down one flight of stairs. This theatre is nestled in one specific part of that level, only accessible via one or two stairway and “lift” options. In another part of the complex, there is another ground level, and this one has a similarly convoluted entrance “scheme” - again using a British phrase synonymous with the American English “plan” for getting from one place to another.

Back to the Pit. This theatre space offers flexible seating and arrangements that can change for each show, much like a standard black box space. The second show which I attended there, Europe by David Greig, stands out strongly in my theatrical memory. It’s interesting to see that the revival made the news of VARIETY, while the Barbican still has it featured on the archives page of their own website. But I’m not writing this entry to talk only about the play, Europe. Something about that whole evening experience in the Pit - the enigmatic lighting, evocative sound design, powerful script, leaving the Barbican and heading into a rough mid-winter evening in the city of London... made it stay fresh in my mind over four years later. The Pit was just the start, or maybe it was the peak, of the experience.

I often wonder if other theatre-goers may treat their plays as a whole experience where it is not just about the one play. I hope that others consider the many parts that play into their theatre viewing, not just as a highbrow experience as it is often pigeonholed in USA culture, but as a natural part of life.

NT Live Round Three

This week is the third installment of broadcasts from "NT Live", the new and groundbreaking series of plays that are simulcast live from the National Theatre in London.

I am quite pleased by the emergence of this idea, as nights spent at the NT were often some of the most memorable of my adventures in London theatre audiences. Some experiences there included seeing one of the first performances of David Hare's Stuff Happens, snagging a first row seat to see Fiona Shaw perform Happy Days, catching the original cast of The History Boys, an experimental play derived from Virginia Woolf called Waves, and numerous other memorable productions. I caught the first play in NT Live (Phedre with Helen Mirren) last June, and the feeling of immediate vibrancy that I so loved live in London came right back to me.

I'm curious what the larger theatre community (or at the very least, readers of this blog) may think of this concept. Is it good to be bringing theatre to a larger audience, especially if it's a far distance, such as London to California? Is immediacy lost in translation? Is it a disservice to have a theatrical text on the big screen? Too cinematic? Or just the right choice?

Appreciating the Origins of Theatrical Interests

Over the past week, I've been revisiting select episodes of The Avengers for the first time in about a year and a half. I used to watch the show (along with Star Trek: TNG) compulsively when I was younger, so I tend to notice the gaps in a sharper manner than with other programs or movies.

In this viewing series, the connections of the show to the theatre world are particularly clear to me. I had the good fortune of seeing several of the leading actors (Diana Rigg, Honor Blackman and Joanna Lumley) live onstage during stints in England, and having a brief fanboy conversation with Rigg at a London theatre in 2004. Those three actresses offer the most direct connection to the theatre world, in their work following the show and leading up to the present era. However, there were multiple other actors who made guest appearances on the show and then also worked in British and American theatre and film. I saw Charlotte Rampling and Peter Bowles onstage in 2004 and 05, respectively, and other actors that come to mind include Christopher Lee and Brian Blessed.

It could be argued that many of the actors on the show, particularly Rigg, brought a certain theatrically trained style to their parts that might have been unusual for the time. I am sure that it took American audiences by surprise, as the show was one of the first (possibly THE first) to be successfully imported onto US television. The style of the era likely played a part in its appeal as well, with "London Mod" fashions and culture being transmitted across the world.

In re-visiting the show again now, nearly 20 years after I first caught some re-runs on the A&E network that my dad was extremely happy to share, I feel appreciative that a show liked that served as an introduction to theatrical styles. This included discovering that Rigg had continued on to a successful career with the RSC, many years before I knew the background of that company and actually visited Stratford upon Avon in person. Being aware of the show, and a dedicated follower as it resurged in popularity in the 1990's, had a lot of benefits. For a time it was especially exciting to be part of a burgeoning online community, helping with some aspects of this website in particular.

And when I eventually turned to theatre for an artistic and career focus, I looked at the alumni of The Avengers as a prime example of where to start and how to approach my work. Not necessarily through the acting styles that were present on the show, but in the output and work that the actors involved had created. It showed (and continues to make clear) that dedication and involvement in multiple industries - television, theatre, film, etc - could lead to a satisfying and rewarding creative career.