The Royal National Theatre of Great Britain

The Royal National Theatre of Great Britain is located in the well-known town of Waterloo. It is so highly esteemed that it is more commonly known, simply, as The National. It was built in in 1963 and was based out of the Old Vic theatre. It currently houses three stages. However, The National is not only a stand-still theatre; it has been performing touring productions since 1988.

The National was developed in 1847 because of a high demand for more serious plays, without censorship. It was not necessarily a brick and mortar theatre, but more of an idea. It had not been put into structure because the focus of critics was more on commemorating Shakespeare. After the theatre devoted to Shakespeare was built, and the burden of the World Wars had ceased, The National was constructed. In short, the construction of this theatre was built from the sour comments of concerned critics.

 Its esteemed nature calls for many genres of plays. It has had many Shakespearean productions, various renowned dramas, and even more modern plays.  The National was built as a way to be a melting pot of all the genres of plays in the world, and that is their mission; to allow each and every established artist a chance without censorship.

The National gives every established artist a chance without censorship, and that is why they offer highly engrossing internships. The goal of the internship is to “expand the horizons of audiences and artists alike”.  This internship involves: working with program strands, joining a team of motivated artists, learning to work the office in the aspects of administration and research, attending all departmental meetings, but mainly just learning administration and planning. Interns will have opportunities to observe workshops and possibly attend theatrical events!

At the end of the internship, the intern will have an exit interview where the judges will give an appraisal of the intern’s performance and work. In this session, feedback will be given to the individual regarding their time with the theatre. It is a very honorable experience and is highly recommended.

I am enticed by this company, specifically, because it is well versed in the history of British plays and playwrights. It has an enigmatic sense of hierarchy amongst all other companies in England and possibly the world. The National is a mix of all genres and gives the notion of inexplicable forward motion in the theatrical community. If I were to further my interests in the realm of theatre, this is one company I would not want to pass by. If I were received into their internship, I have a sense of knowing that I would somehow be ahead of the pack when it comes to obtaining a career.

I find it admirable that they give every aspiring playwright a chance, whilst clasping classical tales tightly. They may accept new and odd forms of genres into their programs, but they do not forget where their foundations lay. Even the architecture of their theatre shows their originality and classical edge, with a twist of a modern zest.

Sweeney Todd: The Demon Barber of Fleet Street

The show I am reporting on is the amazingly brilliant Sweeney Todd.  I saw this in my high school years (sophomore or junior year) and fell in love with it. The show goes like this: a middle-aged barber returns from travelling the world with a young man.  He wants to see his beloved but discovers from a woman who runs a pie shop that she had taken poison and that her daughter now is the ward of the Judge.  After conspiring with the woman and opening a barber shop, he runs crazy and goes on a killing spree, allowing Mrs. Lovett to become successful using the human meat.  After a bunch of singing, consipiring, and competition, Sweeney ends up getting his revenge, kills his wife-Mrs. Lovett and allows a young boy to kill him.  His daughter and the young lad he travelled with escape in love with each other and that is the tale of Sweeney Todd.

This musical masterpiece was directed by Harold Prince, with music and lyrics being written by Steven Sondheim.  It first came into play on March 1, 1979 and had five hundred fifty seven runs.  In more modern times, this masterpiece has been turned into a musical fim by none-other than another amazing director, Tim Burton.  He employed Johnny Depp to play Sweeney Todd and Helen Bonham-Carter (his wife) to play Mrs. Nellie Lovett.  This is what most people now-a-days think of when they hear Sweeney Todd.

A theme of Sweeney Todd?  A humorous lesson learned is that human flesh sells well and is in complete abundance.  A serious lesson learned is that wronging another human being for your own selfish reasons will always come back and get you.  Though this story is centered on the barber and his life, the whole mess could have been avoided if the judge had not abused his power to unlawfully send the barber away from his young wife and daughter because he was jealous of the young barber having a beautiful wife.

I like this musical for multiple reasons though none are from personal experieces.  It appeals to my sick sense of humor and my fascination with gore.  I like the darker tone of the musical, no happy ending that is of a major character, not to mention the progression of calm insanity.  I also like this musical for its music and composition.  There is just something about the music that makes shivers run down my spine, dark thoughts form in my head, and a sadistic thrill take to my blood.  I guess it is just that type of work that allows you to enjoy your darker side and not be judged for it.  Besides, the music and story are catching..."Attend the tale of Sweeney Todd!"

Theatre and Medicine: They Relate?

The Medical Biology of Theatre

This semester, I’ve been introduced formally into the world of Theatre.  I’ve learned origins, metaphors, and all other different subjects in its arsenal but I would never have related it to my major.  In my eyes, science and theatre had no true connection or could support the other.  Why would I think like that when Theatre is the right-side of the brain of expression, creativity, and language as science is the left-brain of comprehension, mathematics, and formulas?  It’s taken me awhile but there are aspects of theatre that, when taken out of context, fit in with the demands of my Pre-Medical Biology studies.  Theatre is about acting, an useful skill that all doctors need because we can’t let our own emotions through when they are inappropriate and we need to be strong in times of delivering bad news.  I also noticed the aspects of theatre about ritual and a need to be comfortable before/during a performance relates to my specific goals of being a trauma surgeon; as actors need to calm themselves before a bug performance with a familiar ritual, so does a doctor before performing a surgery.  Both these points are theatre in the world I want to be a part in.

Acting, the very word typically makes me shudder as I think of stuck-up people who think they are the deities on Earth and are to be given their every desire and whim.  I’m stereotyping here but it’s always been my reaction to acting.  It took me awhile but I found that if I was myself in my studies and future career, guaranteed I wouldn’t be hired nor liked.  I need to be able to act my part perfectly or well-enough to be successful.  I realized even as we did the exercises on improvising that this was a necessity of my dreams.

These dreams won’t be successful if I also don’t appreciate what theatre has taught me about finding your center.  I’ve never been one to act or speak in front of crowds or audiences but having pushed myself a bit and after the discussion with Lindsey’s Oyster, I found myself noticing this other essential quality my career and theatre share: finding your center.  It’s a coping mechanism, involving ritualistic means to keep yourself calm and able-minded before a task.  Actors use it for getting into character or calming nerves.  Doctors, or in my goal’s case surgeons, do this as well.  It can be anything from a song that calms you to reciting your favorite poem or telling jokes.  It’s a coping method but an integral part of my dreams and this class.

I’m hoping that these comparisons help alleviate the wariness I have towards this art form.  I will never go and say, “I wanna be an actress and a Broadway star!” but now I’ll hopefully be more appreciative with seeing these similarities.  Coping mechanisms and acting are not really symbolic or metaphorical or outstanding when one thinks of how elaborate and detailed theatre is but for me it’s a step in the right direction.  Having now found how theatre and medicine relate, I can move forward more with my studies, having taken these vital lessons, in my eyes, away with me to achieve greater and more wondrous things.

Katharina: The Taming of the Shrew

My costume design is for Katharina from The Taming of the Shrew.  Her fiery temper and quit whit are what I think mayke the play enjoyable but imaging what she would wear is another aspect of her character that interests me.  I've seen different reproductions of the play, all with these period dresses but nothing that just screams independent.  She wears what is exepcted of a young lady from noble birth.  I see her more as someone who is rebllious in all aspects of her life, clothing and fashion sense included.
Her outfit to me, before she becomes subservient to Petruchio, is something not along the lines of nobility but along the lines of somethign the pirates and gypsies wore.  Her shoulders and upper arms are exposed from the low-white shirt.  She is supported by a black corest and her skirt is a very pretty mixture of different blues with gold accents.
While the material is of noble stnadards, it just seems more Katharina then what she is wearing in the movie, those appropiate but poofy dresses that make for being intimidating impossible.