Stuff that occurs to me

All of my 'how to' posts are tagged here. The most popular posts are about blocking and private accounts on Twitter, also the science communication jobs list. None of the science or medical information I might post to this blog should be taken as medical advice (I'm not medically trained).

Think of this blog as a sort of nursery for my half-baked ideas hence 'stuff that occurs to me'.

Contact: @JoBrodie Email: jo DOT brodie AT gmail DOT com

Science in London: The 2018/19 scientific society talks in London blog post

Showing posts with label Lockdown Theatre. Show all posts
Showing posts with label Lockdown Theatre. Show all posts

Monday, 7 December 2020

Things I like about online theatre, via Zoom (there isn't anything I don't like!)

Last Sunday I was in a Zoom audience with 7,000 others (!) attending Lockdown Theatre's 'For One Knight Only', in aid of charity (Acting For Others). There were five thousand on the Zoom itself and 2,000 in the overflow room. They raised a lot of money. It was fantastic - here's a nice review in The Guardian.

This was the second Zoom theatre 'thing' I've been to during lockdown and I've really enjoyed them. In more usual circumstances I tend to go to the cinema more than theatre so am not really a 'theatre person', so bear that in mind when considering my points below (I can well imagine a theatre-goer or cast/crew person finding it a bit too different from what they prefer, and not 'real' enough.)

While online theatre could never entirely replace real life theatre I hope that some of the online infrastructure can remain once everything is back to normal.

Here's what I like about it -

  • Accessibility - people don't have to leave their house (or even get dressed) to see a theatrical performance from their living room. I can see this making things much easier for those who are less able to get out.

  • Accessibility - everyone has same experience - it doesn't matter where you sit, you can see and hear everyone clearly, on one screen (yours).

  • Bigger, wider audiences - time zones permitting you get to be in an audience simultaneously with people in other cities and even countries, this has been rather exciting actually! It seems like a potential way to reach more people, and engage a different audience.

  • Cost - while the ones I've been to haven't been particularly cheap (for charity) they are still considerably cheaper than London West End prices. I don't know how much the operating costs are (cameras, internet connections, ticketing).

  • Comfort - the seats are comfy with lots of legroom! Perhaps Deliveroo etc can adapt their 'Big Night In' snack bundles for theatre ;)

  • Comfort - you're muted so you can rustle your Maltesers as much as you like, eat boiled sweets noisily or nip to the loo without disturbing anyone other than your immediate household.

  • Differently social (audience) - you can chat with other attendees via the Chat function though this is perhaps a mixed blessing if you've not worked out how to hide it and don't want it scrolling like a Geek Chorus in the background.|

  • Differently social (actors) - the actors can also see each other on-screen (normally they'd be in their dressing room for chunks of the play or event so would miss stuff, though they can switch off their own video while waiting) 

Possibly some of these are disadvantages too. 

Perhaps the actors are quite delighted at a muted audience but also miss the normal audience responses (laughter, applause etc). It must be difficult to judge how anything is landing. 

Pros and cons are also mixed in terms of accessibility - it's cheaper and doesn't involve travel but I'm not sure how well it works for people who are Deaf, though live-captioning is coming along in leaps and bounds. Or perhaps if recorded then a watch-again-with-subtitles facility might work (though there's the risk that people wouldn't bother turning up at the allotted time and just watch it at leisure on YouTube). 

I've previously attended a performance of The Madness of George III which was performed live on stage at the Nottingham playhouse with footage beamed into a cinema screen in London. It combined cinema and theatre brilliantly, via the NT Live platform. That was quite a different set-up from Zoom though, with the actors performing the play as usual and cameras set up to point at the stage. With Zoom each performer talks directly to their laptop camera.

While I rather like the idea of future theatrical performances being performed live for the in-theatre audience and also live-streamed for an online-audience at home perhaps actors might not be so keen. You're not allowed to make recordings while you're in the theatre meaning that there's no record of the performance.

Also (as with watching things later on YouTube where a Zoom is recorded) I wonder if theatres might become emptier if too many people decide to stay at home and watch it later? Possibly it's not even that practical (and it would be different from Zoom as the actors would be acting on stage, and not to a laptop camera). The technology is already there and in use for the NT Live arrangements but I don't know if actors generally welcome having cameras pointed at them during the performance, though this certainly seemed to work well for the Madness of King George III.

Background
Thanks to an excellent decision to follow Sanjeev Bhaskar on Twitter I discovered that he was taking part in a table-read performance of Tom Stoppard's The Real Inspector Hound back in October. That led me to discover the existence of Lockdown Theatre which has been putting on a series of performances and events during lockdown to raise funds for theatrical charities.

I really enjoyed last Sunday evening's "For One Knight Only" which was a panel chat among Sir Kenneth Branagh (compere), Sir Derek Jacobi, Dame Judi Dench, Dame Maggie Smith and Sir Ian McKellen.

As you can imagine it was a delightful and amiable hour and a half with a bunch of incredibly talented people who evidently enjoyed each other's company as much as we did. I suspect the chances of seeing them all together in one theatre, or even one TV chat show, are probably quite low during non-Covid times as they'll all be off doing their own thing, so this has been one advantage of everyone's life being paused.





Monday, 26 October 2020

Great fun - live table read of Tom Stoppard's The Real Inspector Hound in support of The Royal Theatrical Fund.

Oh this was great! I really enjoyed tonight's performance of Tom Stoppard's The Real Inspector Hound, done as a live table readthrough via Zoom. Just wonderful. Several scenes involved people on telephones so they used bananas as props, haha. It all worked brilliantly from a tech point of view and then we had a moderated Q&A at the end. 

I'd not seen the play before so that was a treat (it's a one-act comedy, poking fun at whodunits based in a country house and has a play within a play) and we had a message at the end to say that Tom had been watching, so that was rather nice (he was also in the audience on one of the times I saw his Travesties too). 

 
Image cheekily pinched from Lockdown Theatre's page (hope they don't mind!) advertising Tom Stoppard's The Real Inspector Hound, with Derek Jacobi, Simon Callow, Jennifer Saunders, Freddie Fox, Emilia Clarke, Samantha Bond, Sanjeev Bhaskar, Gary Wilmot. Narrated by Robert Lindsay, directed by Jonathan Church and produced by Rob Grant and Paul Jackson - thank you all :-)
Poster design by Lily Grant.


Lockdown Theatre has been raising funds for The Royal Theatrical Fund by putting on several of these performances and they've already raised £100,000. I only heard about this one (missed the earlier events) but I'm now on the mailing list https://www.reddwarf.co.uk/lockdown-theatre/ so won't miss any more (the producer, Rob Grant, is one of the Red Dwarf co-authors).

It was fun to see the actors enjoying themselves and occasionally stifling giggles and lovely to be a part of as an audience member. In the Q&A afterwards several people wondered if this might form a new medium for theatre that would persist after lockdown ends. The actors commented that it was also interesting to be 'onstage' during bits where they'd normally be back stage or in their dressing room, so they got to see everyone do everything. 

It's also very accessible in the sense that you don't even need to leave your house, and it's generally cheaper to attend than a West End production (tonight's show was £35) - so I could see this as being a useful addition to the theatre, even once they re-open. Possibly attracting a different audience too.

There are already live-broadcast versions of theatre where the show is 'simulcast' in cinemas and recorded for later. Other performances are BSL-signed and on some productions there are post-show talks and Q&As too - so there are already all sorts of additional events that go on. I wonder if productions might add a live table read, or if it would be far too much additional work (eg the play may need adjusting and it still needs to be rehearsed, not to mention everyone needs good wifi and hardware).

Everyone in the audience is muted so you can cough and rustle your Maltesers as much as you like and no-one's disturbed if you pop to the loo. Perhaps there could be PDF versions of the programmes too - I might be getting a bit carried away though!

I also wonder what I'll take away from it in the next few days, and how I'll remember it. Generally after seeing something in the theatre I'll remember bits of it as they related to what was happening on stage, or where someone was, costumes, set decoration and of course music and sound design - which wasn't included (imagine it might be quite hard to include). That said, Radio 4's plays have a lot of sound design and music but you can't see anything at all so it isn't really comparable. Strangely it does feel as if I actually left the house for a bit - while writing this it feels as if I've "just got back" from somewhere! (Something that I remembered a day after the event is the lack of geographic restriction - I think we had people joining us from the US!).

Anyway a really good event and I hope there'll be more.

Also congratulations to Tom Stoppard whose most recent play, Leopoldstadt, has just won the Olivier Award for Best New Play.


 

Further reading
Review: The Live Table Read of The Real Inspector Hound - Theatre Weekly (25 October 2020)
"Robert Lindsay takes on the role of narrator, relaying the stage directions to the audience at home.  This may not sound particularly thrilling, but is in fact a terrific insight in to how the play is intended to be performed."

The Real Inspector Hound, review: Derek Jacobi and Simon Callow the highlights of a starry Zoom performance - inews (26 October 2020)
"It was a pleasure to watch the performers respond to one another’s choices – something we wouldn’t see normally. We also heard Stoppard’s witty stage directions, read in by Robert Lindsay. It put focus on how precisely crafted the piece is, and also demonstrated the affection (albeit barbed) Stoppard holds for his industry."

The Real Inspector Hound - British Theatre Guide (26 October 2020)
"An excellent company intent on enjoying themselves as much as entertaining the public is completed by suave Robert Lindsay acting as Narrator.

This is the kind of play that has worked well on radio, which makes it a perfect choice for this medium. Not only is it great fun but the script also benefits from Tom Stoppard’s legendary rich use of language and delight in sending up a minor art form that is often taken too seriously and therefore fully deserves to be lampooned.
"