RST Re-Opening

Decided I’d probably be best off writing about these two together as, although I do love both productions dearly, what I was really there for was to see the new theatres in action at last. Plus having just written a 2,000 word or so... well, essay on this King Lear, I’m still feeling a little burnt out (it may have made me cry multiple times again, but that’s all I’m going to say).

Generally I’d paint the experience as one of joyous excitement (there was even new ensemble members excitement as I spotted unfamiliar, unexpected faces in the program). It was also, definitely, a success – with the RST managing to maintain the best qualities of the Courtyard (which has ended up being one of my favourite theatres) whilst managing to feel more intimate. It also boasts some truly superb acoustics, though how much of these achievements have been magnified by the recent memory of the second rate Roundhouse is difficult to say. I also really loved being able to see the stone work of the back wall and the sense of echoing emptiness behind it – both of which worked well with the crumbling design aesthetic of Lear.
If anything, though, I ended up loving the Swan even more. Something about it makes me literally giddy with joy as I walk in – whether it’s the small size; or the mountains of pine, which gives it an oddly fresh feel; or perhaps it’s that one of it’s inspirations was apparently the New Inn, one of the first places I saw Shakespeare (Taming of the Shrew, in fact a seagull managed to poo on a whole row of the audience with an impressive dive bombing technique) – whatever it is, something in the atmosphere there simply makes me happy.

I also felt that the YPS Hamlet had adapted most to it’s new stage, making the most of the different space and benefiting thoroughly in the process. It really is much better suited to this small intimate sort of venue, adding to the melancholic spookiness that the small ensemble create (I loved the addition of spotlights behind the actors playing both the musical harp and the bottle). It also allowed them to get much closer to the audience, perching beside them to watch the play for example or Hamlet literally taking a seat amongst the crowd.
I also thought the performances were excellent, with Dharmesh Patel really standing out for me, I think he’s grown incredibly with this role and it’s been great to see the process in action. Debbie Korley also continues to astound with a truly haunting Ophelia and Dyfan Dwyfor impressed with his rapid switches between comedy and tragedy (the 3Ds obviously). We were also treated to the tiniest actor ever, when a girl of 4 or 5 was brought on stage to say “I will my Lord” to an almost unanimous awww from the audience.
I really can’t wait to see more productions in both venues in the future (especially once they start designing productions especially for them) and to explore it properly in the sunshine.