28 The Tempest
- 2016: The Royal Shakespeare Theatre, Stratford-upon-Avon; Barbican Theatre, London.
- Broadcast to cinemas and released on DVD.
Greg begins this chapter with "At Uni I became obsessed with the elusive and largely forgotten conventions of the court masque". This follows a long description of his imagining one in 1605. A year later in 1606, The Tempest was performed to celebrate the wedding of the king's daughter Elizabeth. It was one William Strachey who chronicled the above, (That reminded me of Lytton Strachey whose biography of Queen Victoria was on our A Level syllabus).
In 2014, Greg is at a digital presentation by Intel where he was bowled over by the images it produced. This led him to re-imagine the play as never before. Along with Andy Serkis and his team at Imaginarium, Greg goes full pelt on this modern staging of the the play he loves so much. Simon Russell Beale is to play Prospero and Greg introduces the rest of the cast. He takes us through the plot, but it's when the "technical period on stage" takes place that the magic starts. And what magic. Setting up twenty seven projectors was nor easy. "But in the end we pulled off the impossible." Greg gives a name check for all the technical people involved in putting on the visuals.
The critics were actually divided on the technical aspects, but not on Simon Russell Beal's superlative performance.
28th January 2003: The Old Vic, London. 5th August 1989: The Barbican Theatre, London. 2nd March 2023: Royal Shakespeare Theatre, Stratford-upon-Avon.
29 Troilus and Cressida
- 2018: The Royal Shakespeare Theatre, Stratford-upon-Avon.
- Broadcast to cinemas and released on DVD.
It starts with Greg on the train on his way to meet Dame Evelyn Glennie. He wants her imput into his next play. When he arrives at her office in Huntingdon, she shows him all her percussion instruments. He's sold.
Apparently there is some mystery about the first publication of Troilus and Cressida, and it's inclusion in the First Folio. Greg talks about how he and Tony visited Troy ten years ago. This inspired him about how to set up a dystopian future. He then cast women in the roles of Gods, "all the regendering choices were made with vigilant precision". He name checks all the actresses and their roles. "I was very pleased when the Evening Standard, in a glowing review, declared "This production boasts a 50:50 gender balanced cast, an RSC first"."
Greg says "Frankly I don't think he (Shakespeare) knows or cares if this is a comedy, history or tragedy ..... as it is all these things". He tells us that this was John Barton's favourite play. (He was one the great modern directors of Shakespeare). When he died at the age of 90, his sister sends Greg a bunch of his scripts. They include four battered editions of this play, all with notes. But amongst all this stuff is Greg's favourite: "Director's notes for rehearsal". He uses this for the first gathering of the cast.
There is then a piece about how Cicely Berry ("legendary voice coach") died before the first night, and all about her career. "The following spring, we (with Tony) planted a cherry tree for Cis, next to John's behind the Swan".
26th August 2009: The Globe Theatre, London.
30 Measure for Measure
- 2019: The Royal Shakespeare Theatre, Stratford-upon-Avon; and (interrupted) UK tour; Teatre Municipal de Girona/Teatro Principal de Vitoria, Spain
- Broadcast to cinemas and released on DVD.
Greg takes stock after "five years running the RSC". He seeks opinions from all his staff. He starts the new season by involving the other two directors in forming a cohesive staging of the three plays, and having one designer for all three. "The company would reflect the nation in terms of gender, diversity, regionality and disability". Greg will direct Measure for Measure. He describes how it includes modern themes of relationships particularly those such as "Me Too".
The play is set in Vienna and we hear about how it's history influences the play. There is an interesting piece in the section on rehearsals where they experiment on one speech from Claudio where he is pleading with his sister to save his life. Then Greg likes the ending where "none of the unions he has so carefully stage-managed seem destined for great happiness". And how when the Duke and Isabella are left on stage there is a clever last direction.
Greg tells us that he missed the first preview as he was at the hospital in St John's Wood where Tony was having a successful five hour operation. The play received good reviews. As a result it goes on tour until, in the middle of which, Covid strikes.
8th April 2010: The Almeida Theatre, London.
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