Regendering engenders panic at the disco

The RSC having refused to give me my money back when I asked for it on the grounds that the play ‘King John’ should feature a man in the title role, I forced myself to go and see it for myself.
It stars Rosie Sheehy in the title role but, having sat through the whole thing unlike five people around me, I could find no answer to the overwhelming question: What was the point casting a woman as the king?
Short, fat little Rosie has a good voice and played the part well. But it was frequently confusing. Was this a woman pretending to be a man? Or a woman pretending to be a man who wanted to be a woman? Or a woman pretending to be a man pretending to be a woman in order to pretend to be a man?
Was s/he flirting with the King of France or was that just pretend? Was none of it ambiguous and should the audience simply take it at face value that King John was simply a man played by a woman as if it made no difference?
The confusion was not confined to the King. The Cardinal is played by a woman as well. A woman with a handbag.
To make matters worse, it is all set in the 1960s and involves a certain amount of bizarre dancing which must be hideously embarrassing to perform. I felt very sorry for the poor cast.
We must conclude the director, Eleanor Rhode, has so little faith in William Shakespeare the only way she could bring herself to stage the play at all was by ripping it up and starting again.
In fairness, most Shakespeare plays are so well-known it is the director’s interpretation, or the actors’ skill, which reveal something new. But a play as obscure and rarely-performed as ‘King John’ has no need of gimmicks and trickery. There is, or should be, pleasure and interest merely in seeing it reasonably faithfully performed.
That hope was dashed the moment Rhode decided to give the lead role to a woman.
If we pretend this has nothing at all to do with Shakespeare then the production is reasonably entertaining aside from the cringe-making dance-moves which would have been embarrassing in any setting.
Without the £15 million of taxpayers’ money the RSC gets every year, they wouldn’t be able to deliver productions like this.
And the reaction of audiences can be seen by the fact that even on a Friday night close to Christmas, there were still plenty of empty seats (the three people beside us left at the interval, two more stumbled out mid-way through the second half).
The poet John Dryden adopted the Thatcherite view of the theatre: ‘The drama’s laws the drama’s patrons give, for we that live to please must please to live.’
In the RSC’s politically-correct socialist utopia, it’s more a question of: ‘The drama’s laws the drama’s luvvies give, for we do what we please thanks to fat subsidies.’

Regendering in luvvie-land

If you read my previous blog on the topic, you will know I complained to the Royal Shakespeare Company that their production of ‘King John’ featured a woman in the title role and I asked for my money back.

As far as I’m concerned, I was mis-sold my tickets because I expected, when I booked, that a man would play the King.

I reckoned without the widespread theatre policy of politically-correct casting (called, among other things, ‘regendering’). The RSC’s ‘Director for Audiences and Marketing’, Chris Hill, refused a refund though he did offer to swap the tickets for some other (doubtless equally-PC production) as ‘a gesture of good will’. An offer I ignored.

He told me: ‘I’m afraid we will have to agree to disagree on your opinions about Eleanor Rhode’s approach to King John who, in her view, cast the right person for the role irrelevant of gender and the production recently opened to some great reviews following its Press Night.’

He then regaled me with what the RSC’s luvvie-in-chief Greg Doran had to say at their last AGM: The first thing to say about Regendering is that it is nothing new. Exactly 120 years ago, this year here in Stratford, on a matinee performance in June 1899, the famous French actress, the divine Sarah Bernhardt played Hamlet.  It’s nearly 25 years since Fiona Shaw played Richard II; Glenda Jackson has just played King Lear on Broadway. And it’s a process of discovery we have been on at Stratford for quite some time, including Neil Bartlett’s Twelfth Night in 2007, in which Toby Belch, Andrew Aguecheek, Fabian and even Viola were all gender flipped. For me, regendering is also an opportunity: opening parts to exceptional actresses, for whom the traditional assignment of roles in the canon leaves little left for them to play.  Sometimes it’s a provocation, sometimes a revelation, but most of the time, you simply don’t notice, or quickly forget, as gender is not necessarily the primary motor of these characters. But it’s an exploration not a policy.’

This is all very well but I would contend most theatregoers don’t want to see our heavily subsidised national theatre companies distorting the world so flagrantly.

I wanted to pursue my complaint through the small claims court but the domestic goddess vetoed the idea. It seems, from a cursory look at theatre reviews, that ‘regendering’ is de rigueur in luvvieland so I am biting the bullet and going to see the damned thing. A review will follow after we have endured it to the bitter end.

Incidentally the production got 4 stars from the ‘Grauniad’ (no surprise there), the ‘Stratford Herald’ liked it but found it confusing, ‘The Times’ awarded 3 stars as did ‘The Telegraph’ which called it ‘jaunty but lightweight’. ‘The Morning Star’, Jezza Corbyn’s top read, might have been expected to be supportive but it concludes: This is essentially directors’ theatre, full of disparate ideas and images which never fully cohere into significant meaning. Poor old Shakespeare.’

Oh and check this out...

 

Christmas in Kabul, 1841

Well the good news is that I have bought into some new promotional thing which is supposed to make sure my book, 'The Trials of Eldred Pottinger', is widely promoted on tinernet.

The bad news is I'm not sure it's any good. Have a look and see for yourself. You're supposed to be able to read some of the pages, listen to a bit of audio (me, reading about Christmas in Kabul) and watch the promotional video.

Oh and feel free to pass it on to friends, relatives and anyone else who might be interested: https://www.book2look.com/book/hJnQ8wYZwK