WATERSIDE. You can do this. (A poem in the manner of Milk Wood).

It is not yet nightfall and the light on Stratford upon Avon is still good. There is a glow through the rain.
It is a pleasant evening.
Walk on. Walk on but keep your wits about you.
As you navigate the gigantic, clogged drain puddle that sits, that floats, like a small ocean outside the shop that is never open.
Be ever alert.
You will need your wits to avoid the soaking.
The dead drenching freezing fathom deep wet that you will get.
When waves pushed up by the wet wheels of passing vehicles coat you to the skin with pollution and ruin the best shoes that you always wear when you go to the theatre.
By the by.
Did you book a meal to burp up when seated in the auditorium because now is your chance?
For you are at the bottom, the lower end of Sheep Street.
Stratford’s street of a thousand restaurants. Some opened. Most closed.
Heed.
This is where the theatre sheep eat.
Where filling faces and bellies with enough warmth and comfort to sleep as the words pass over their heads is a must and a well-measured thing.
Heed.
Never too much drink for it is you to be moved.
Not the bowel.
To piss in performance is frowned upon. Hold it in patron. Hold it in.
Satisfied. Meal finished. Trough empty.
Plates cleaned as though dish washed.
Cutlery arranged as should be.
Bill, (not William) paid.
IT IS TIME.
Time to make way to the Holy place.
Religious in repetition, repeats and regurgitation.
But you can do it. Again.
You can make yourself comfortable to hear out yet another explanation another exhortation another expiration of hot breath. It can be done.
And you can do this.
As familiar as you are with the ever-present fighting swordsmen or maybe swordswomen in disguise.
You can do this.
You may have seen the cavorting and posing in tight leather or weathered brown cloth to tell the story you already know so well.
But you can do this.
The spectacular swing down from the ramparts with yet another attempt at meaning clutched between their teeth.
You can do this.
Over and over and over again. Year after year after year.
You recognise this. You know this.
And as always you will make much of the best bits that speak to you as old friends.
And then.
The ordeal.
If ordeal it was is over.
You. We. As a body. Must advance. Retreat? To the Dirtiest of Ducks. The doctor. The curer of all ills.
Where with luck the word churn and the senses burn can be dulled with the continuous infusion of alcohol.
Have no fear.
There is a night to recover in.
The morrow will bring and you will sing.
No head. No throat.
Just a bright new day…and moments…to quote.
You can do this.
Ian Frederick Harris.
thestratfordian.co.uk

The demise of the Royal Shakespeare Theatre/Company

landscape art
‘Royal Shakespeare Theatre presents – Scene 1. Destruction.’ Oil on 12″ x 12″ canvas board. £50.
The demise of the Royal Shakespeare Theatre/Company in Stratford upon Avon has been predicted for a number of years now, yet somehow this once great theatre company continues to exist. Gutted and a mere shadow of its former self, it clings to the idea that 37 (?) plays will sustain it to the end. It swallows up a grant that a quite number of smaller theatre companies would survive on and pushes a system of weird ‘repertory’ (my opinion), that is slowly killing it. The Royal Shakespeare Theatre must adapt to thrive in today’s theatrical landscape.
The time has obviously come for someone to be brave (and take a drop in salary) and make the decision that would have its vast resources (buildings/theatres/rooms etc) dedicated to all theatre, and not to one (great as he may be) playwright.
Moreover, the Royal Shakespeare Theatre should explore innovative programmes that attract diverse audiences.
In other words, all Theatre celebrated (and dedicated in Shakespeare’s name if need be).
And to (re) start the process I would advocate a return to the repertory system. A system that would help in its own way to reduce the never-ending conveyor belt of unemployed actors by offering them a year/2-year contract where they could perform Shakespeare (if need be) and more modern plays (lots of them), ongoing, all year round.
In doing so, the Royal Shakespeare Theatre can build a bridge between classical and contemporary works.
Detractors of this system and their usual cries of ‘The RSC couldn’t hope to offer actors wages that compete with TV and films’ have perhaps not noticed that film and TV are experiencing their own problems and as a result are making massive cuts.
A return to repertory, a return to variation and a celebration of all theatre would (in my opinion) attract the new audiences that theatre and especially the RSC is crying out for.
It is essential that the Royal Shakespeare Theatre honours its roots while embracing new artistic expressions.
I should make it clear that I am not advocating a return to a golden age that more than likely did not exist. In my experience and my time at the Jam Factory, there were departments within, that all played their part in its slow death.
Be it greed, self-importance, bullying, hierarchy and a tendency to invent mysterious, self-imposed cultures and ‘rules’, they all played their part in jumping on the gravy train. Thankfully, some of those departments no longer exist.
Sadly however, chances were missed during one of the many ‘clear-outs’ and there was no-one with vision (courage?) enough to build on the free spaces that were left behind, so even today we still find existing and new (ish) departments who have become more important than the basic purpose of the RSC itself…i.e. Producing Theatre.
Soon, someone will write a book about the death of Shakespeare’s theatre which in turn will become a screenplay, unfortunately too late to become a stage play as the Royal Shakespeare will be, like its master’s grave, dust.
Failing to evolve could mean the Royal Shakespeare Theatre becomes a relic of the past.
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