Stage | The Observer: Marianne Elliott loves a challenge. The director of such high-risk projects as the National Theatre's runaway hit War Horse and its more recent smash, The Curious Incident Of the Dog in the Night-Time, as well as the dark, pared-down Port, which recently opened at the Lyttelton, she has never knowingly opted for a theatrical safe bet.
3 comments:
I completely agree with her philosophy but dont really see why its all that note worthy. I dont really know anyone who does theatre so that they can do run of the mill things. In fact a lot of the theatre artist I know do it because the "real-world" version of that job is too run of the mill. And if all you needed to do to have a successful show was do normal everyday to day things then anyone could have our jobs and we wouldnt be needing to go to school. Thats why our industry is the way it is because its full of people who are constantly trying to create something different that no other person could come up with or create. Like Joe said in Pre College, there is pretty much only one story out there, so its all in the way you tell it.
I think this director has a good idea on what it takes to create good shows. I love the idea that she briefly explains as why put on a run-of-a-mill-show. I completely agree with her on this philosophy nobody remembers the second best production of Chicago. People remember the best and they talk about the best and they encourage others to see the best. The best productions are the ones that continue. It is really hard to get there, yes but as she said it is hard work and you need to keep pushing and pushing.Just like with food people don't remember a dinner that was okay an had a couple good things they remember that meal that was good around if not fantastic. Some parts of producing the show cannot be done by yourself so you have to leave it in the hands of other but however you can still take all you can to make your part the best and I think that is how you can go out and make great theatre.
"The Curious Incident of the Dog in the Night-Time" is by far one of the most interesting books I've ever read. It raises many issues that a lot of us relate to, in a very sensible and intelligent way. I'd love to see what the theatrical adaptation is like, and whether or not it truly portrays the spirit of the novel. I'm wondering if the actor chosen to portray the protagonist is disabled himself or not; and why this decision was made.
As for the question of creating original theater, well I agree with April that this is something all theater artists aspire to; although it is true that one can chose between following a conventional formula and going off the beaten paths.
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