Not only is London the theatre capital of the world (discuss) but it offers, in addition to the rather more obvious and glittery shows in the West End and elsewhere, a plethora of other theatre-related events, such as backstage tours and workshops.
I’ve ‘done’ the National Theatre, Drury Lane and the Globe more times than I am now able to count. Each of them has something to offer but of all of them the one that seems to go down best with my students is the backstage tour of the National.
This is not just because it is the National Theatre, now boasting no fewer than four auditoriums, including the Shed – now renamed the Temporary Theatre – and the about-to-open Dorfmann – what used to be the Cottesloe; and not just because the NT has such extraordinary facilities, and all on the one site; but because the tour guides, in my experience anyway, are such enthusiastic, knowledgeable, passionate and great communicators.
At the Theatre Royal Drury Lane a pair of actors take you around backstage in the persons of David Garrick, Richard Brinsley Sheridan – past managers of the theatre – and Nell Gwynn. In the course of it they impart a massive amount of information in a highly entertaining way, but the last tour I went on was so massive – 60 people, at a guess – it took so long to herd us all about we could barely hear, or see, what was going on.
The tour at the Globe is definitely worth doing in the winter, when you actually get to walk onto the stage and, if the mood takes you, spout whatever comes to mind to an imaginary audience. In the summer the stage is annoyingly occupied by professional actors, and since the tours are so popular you may find you are in one of around a dozen groups, each with its own group leader vying to be heard above the others.
I’ve taken my students to workshops at the National, the Globe, the Haymarket, the Duke of York’s, the V & A and the Prince of Wales Theatres. They vary in quality, but again you can always rely on the National to produce the goods., although recently they’ve had to curtail their workshops during the redevelopment of the building, which when it opens shortly will include a brand new education centre.
I have also conducted my own workshops, which involve a certain amount of improvisation and are based either on a specific play or a particular writer, most possibly William Shakespeare. Workshops are excellent for getting to grips with gritty new plays and impermeable old ones (eg Shakespeare); for investigating the collaborative nature of theatre by putting oneself into the shoes of the writer, director, producer, actor or marketing person; and for understanding the context the plays were written in.
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