“You have no idea what this has cost me”
There’s something a little ironic about the fact that many of the people who write about the filming of theatre shows are precisely those who need it the least, myself included. I am in the fortunate position that all the shows I’ve wanted to see that have been broadcast in cinemas through NT Live or captured on Digital Theatre have been shows I was able to see live. To poke at too easy a target, Shenton’s assertion that these are for people who are “not organised enough or connected enough or rich enough to get your hands on a ticket” feels misguided in light of the news that the recent live showing of Billy Elliot topped the UK box office the audience is clearly there, just not necessarily in London’s IMAX screens.
It can be easy to forget that for people who do not live in London, the expense incurred in sorting out a trip to the theatre, especially for a high-demand show, verges on the ridiculous. Train timetables now work against anyone hoping to catch an evening show, the steady rise in ticket prices means taking a family to see something is increasingly expensive, etc etc. So the option of going to the local picturehouse offers something of a solution, not a replacement but a widening of the opportunity (as Shenton does acknowledge before the above quote).
As for those of us who more habitually spend most evenings in theatres, the gnashing of the teeth about filmed versions replacing the live experience of sitting in a playhouse equally feels wrong. I don’t think anyone is suggesting at all that these innovations are in place of the ‘real thing’ but rather an accompaniment, something to enrich that very experience. I’ve always felt this – having seen many a show from the cheap seats in the larger West End theatres, the chance to see things up close offers a completely new take on the show as well as the joy of revisiting something you enjoyed that otherwise would just live in the memory.
These thoughts ran through my head again as I watched Digital Theatre’s production of the multi award-winning Ghosts, recorded during the show’s transfer to the Trafalgar Studios after an extraordinary run at the Almeida where Richard Eyre’s adaptation completely won me over. The Trafalgar is a notoriously uncomfortable theatre and you can end up paying a ton to still be far away so I didn’t go back to the show there but now, one has the opportunity to watch it again from the comfort of, well, wherever one chooses.
And yes, there are aspects that are lost in viewing it this way. The majesty of Tim Hatley’s translucent design never really comes across and the perspective is always dictated by the camera crew. But trusting them to make good decisions, it is easy to turn that frown upside down as the frequent close-ups on Lesley Manville’s Mrs Alving offer a unique opportunity to observe the finer details of a truly magnificent performance – the way the word “whoring” catches in her mouth, the trembles as she speaks of “the right thing to do”, the agony on her face as she hears that her son has not escaped “the sins of the father”.
The thought that this performance has been captured for posterity if nothing else is a thrilling one and I was recently pointed to the 1987 film (that can be seen on YouTube here) which features Judi Dench in a stunning, if slightly more stagey production. And this feeds into the idea of a rich theatrical archive being built up, in far more democratic a fashion than usual, so that maybe in another 25 years we’ll be able to compare and contrast another spell-binding turn from an actor in her fifties (Phoebe Fox or Vanessa Kirby would be my prediction).
There’s also the other pleasures contained here, the chance to see the late lamented Natasha Richardson work for one and the freshness of a youthful Kenneth Branagh for another, he probably comes out about equal with the excellent Jack Lowden for my money, as the ailing Oswald. Really, I can’t see why people get so het up about the idea of filmed theatre.
Ghosts, along with five other shows on Digital Theatre, is now available with the option of StageText captioning; that’s the sound of another barrier being broken down as the choices open to those who rely on captioning in theatres are limited and being able to make the precious few performances that are covered often requires planning of military precision. Adding this option here is therefore a real boon and shows that this is a company thoughtfully considering what their role in the capturing of live theatre really means. Well worth the investigation.