Letter: Theatre in peril

Meredith Daneman
Monday 31 August 1998 18:02 EDT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Sir: What an extraordinary admission of defeat for the Royal Shakespeare Company to want to demolish the very theatre that made it great (report, 27 August). I have just returned from Stratford, where I saw two plays in one day - one at The Swan and the other at the Royal Shakespeare Theatre and my experience was exactly the opposite to the claims made by the RSC.

During my three and a quarter hours in The Swan I was made profoundly uncomfortable and restless by my narrow, armless seat and by the deafening noise of the production, which was far too intrusive for such a limited space. Nor, however loudly they were shouting, could I hear the actors' words since, playing in the round, they were obliged to turn their backs on me half the time. The main house, in the evening, was by contrast elegant and comfortable and I could see and hear without strain.

What makes actors imagine that audiences want to be intimate with them? We get close-ups on film and television. What the theatre can so excitingly give us is a sense of spectacle and formality. There was no problem with audibility in the days of Olivier and Ashcroft. Rather than pull down a beautiful and historic building, let the actors and directors raise their game.

MEREDITH DANEMAN

London SW15

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in