As one grows older, generational
observations begin to occur – the “policemen are getting younger”
syndrome. One of the most frequently voiced remarks along these
lines at Scarborough this year was “Aren’t young people incredibly
media-trained these days?” To explain: after a show at NSDF has
completed its batch of scheduled performances, the company then take
part in a discussion session about it. In some previous years,
groups had been quite unprepared for the amount and intensity of
criticism voiced in such discussions, so a system was introduced
whereby the debate would be structured around three questions asked by
the company.
This year, however, what became apparent was the extent to which this
structure may now be used by companies to delimit what they are
prepared to hear. There has always been an occasional example of
a company – or, more usually, a director and/or writer – who behaved in
discussion as if almost all criticism had been pre-empted in his or her
own thoughts, and the rest simply wasn’t worth wasting time on.
On a number of occasions in 2006, companies used their questions
(whether consciously or not) in a way which made it all but impossible
to address any aspect of the production other than those they were
interested in. Like politicians in interview, they do all they
can to define the agenda on terms comfortable to them.
Shoddy
This became most glaringly apparent in the case of John Dwyer’s
Making Ugly. In his questions
to the discussion, Dwyer seemed concerned entirely with the conceptual
impact of his writing – the “why” of the piece – and displayed a
near-total unwillingness or inability to consider the “how”, in the
shape of its grossly inept execution (under Dwyer’s direction).
In fact the play was the most shoddily executed work I have seen in 19
NSDFs, and one of the handful of worst shows in the 3000+ of my
reviewing career. Nor were its champions on the Festival’s board
of selectors (both of them, no doubt coincidentally, based in and
around Huddersfield) prepared to defend it to any significant extent in
the discussion.
Making Ugly was scheduled
towards the end of the Festival week, and so any general debate about
modes and manners of criticism was prevented. This may have been
no bad thing: usually when the subject arises at NSDF, it takes the
form of much tutting about “negative criticism” (with the implicit
definition of “constructive criticism” as “feedback I’m prepared to
hear”), occasionally escalating to a kind of communal hysteria.
At such times, though, much is made of the Festival’s aspect as a
learning environment. Well, quite apart from the fact that people
are also learning how to watch and write about plays, and that this
should be nurtured every bit as much as dramatic practices, surely an
essential part of learning is being confronted with unexpected
information and processing it. How can someone learn how to be
better if they will not acknowledge the possibility of grave error in
the first place?
Exposed
I think that, in striving to prevent blood-letting in discussion, the
pendulum has now swung too far in the other direction, and that
companies need to be exposed to a little more uncertainty in the
assessment of their work by the Festival community. Perhaps not
quite, though, to the extent once practised by playwright Tim Fountain
in his years at NSDF: one notorious exchange in discussion ran, “Well,
I thought it were shite” – “No, don’t hold back, Tim, tell us what you
really thought” – “All right, I thought it were
fookin’ shite!”
A pity, too, that no discussion session was scheduled this year
for the Festival as a whole. This was, I am sure, due to Festival
director Andrew Loretto’s imminent departure and the sense that
feedback was not therefore usefully directed at him this year, rather
than due to the amount of candid “negative criticism” voiced (not least
by me) in 2005’s Festival discussion. Nevertheless, incoming
director Holly Kendrick (late of the Caird Company and co-founder of
Sound Theatre just off Leicester Square) was present for the whole week
and could have taken any such remarks on board, besides which such
sessions are also of value to the Festival community, making them feel
part of the whole enterprise and able to influence its direction.
Better
These are little more than cavils, however. My report on NSDF in
this magazine last year was unrestrained in its criticism of various
areas of policy and operation. I am both happy and relieved to
report that the Festival of 2006 was an altogether better year in terms
both of social atmosphere and quality of work.
Making Ugly was the only real
stinker among eleven selected productions. (It would be nice,
though, to see the number of selected domestic shows return to pre-2005
levels of 14 or 15 during the week.)
As Robert Hewison notes in his
Sunday
Times report, after a couple of years in which new writing had
proven thin on the ground, this year featured seven pieces of new
writing, three devised pieces and only one extant work, Gregory Burke’s
Gagarin Way… which, although
less than five years old, seemed in some ways to come from another
world with its pre-September 11 views on political violence. The
presence of existing texts within a couple of new pieces – Emily
Westwood’s
The Romeo And Juliet
Syndrome and The Solvents’
Leviathan
(a devised adaptation of Herman Melville’s
Moby-Dick) – reminded us that
classics can always be reshaped, but did little to suggest how a young
company today might approach such a play on its own terms rather than
on theirs.
Audience
participation
The other notable trait during the week was audience involvement.
Sometimes, as in
(the otherwise)
Defunct Red Cloth’s meditations on bereavement, it was simply a
matter of addressing us as people rather than theatrical spectators;
sometimes, as in
Leviathan,
utilising us as a collective (in this case, the crew of the Pequod);
sometimes, as in
The Romeo And
Juliet Syndrome and The Solvents’ other presentation
The *Cosmic Family* Workshop-Seminar,
enrolling individuals for specific purposes. I found myself
becoming more and more interested in what happens when such operations
don’t work. I happened not to be in the mood for a bit of
mock-speed-dating in
The R&J
Syndrome, but with all credit to the actress in question, she
persisted and began to swing me around; those who dared to question the
*Cosmic Family*’s wackily cultish merchandising were dealt with by a
company response that was funny precisely because it was so unbending,
consisting as it did of simple repetitions of scripted remarks.
But most audience participation still seems to rely on our essential
passivity, the only difference being that we docilely do as is required
of us rather than equally docilely sitting back; and it seems to me
that any show which involves such a sequence, without giving the
audience member the option to decline to be involved, needs to have
formulated a back-up strategy in case the punter behaves
awkwardly. I remember an NSDF show several years ago in which the
audience was almost violently dragooned into the theatre by the cast;
the imposing Mike Bradwell of the Bush Theatre gently but firmly
refused to do as ordered until the actors had broken out of their
foul-mouthed, heavy-mannered characters and said “please”; it was an
object lesson in the necessity of leaving yourself a get-out from
audience involvement.
Refreshing
Part of the delight of NSDF is that it continues to give rise to such
thoughts and musings about whole areas of theatre which may never have
come into focus for one before. Theory, as much as practice, is
repeatedly remade by each succeeding generation, and the opportunity to
see young theatrical talent constantly refreshing the medium is one to
be cherished and preserved.