Back in the 1920s someone complained there wasn’t a play on the London stage that didn’t have a telephone in it. While it’s the lifeblood of theatre to move with the times, a mania for modish contemporaneity can only get you so far. The danger is especially endemic in theatre troupes dedicated to outreach and to widening access. New York’s ‘Theatre for a New Audience’ is plainly one of these and it was the final visiting company contributing to the RSC’s Complete Works Festival. (Injury has sadly postponed the official opening of King Lear with Ian McKellen, the RSC’s own final contribution on which I hope to report later.)
Three iBook laptops on their separate tables set out TFANA’s up-to-the-minute agenda for The Merchant of Venice on the expectant open stage. Where the play’s titling in the Quarto texts speaks of a ‘history’, the programme ascribes the time to ‘The near future’.
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in