Advertisement

From Macbeth to Matilda at the RSC

  • Millie Taylor
Chapter
Part of the Palgrave Studies in British Musical Theatre book series (PSBMT)

Abstract

This chapter explores the musicality of RSC productions and considers the relationship between those productions that are viewed fundamentally as plays with music, and those that openly embrace the identity of a musical. There are sections on vocal practice and training, on the functions of song, discussions of musicality and the poeticisation of space, before final case studies of Les Misérables and Matilda. Ultimately the chapter considers whether it is theoretically possible to link all the RSC productions—from Macbeth to Matilda—along a continuum of musical and dramatic practice.

Bibliography

  1. Auden, W. H. The Dyer’s Hand. London: Vintage, 1962.Google Scholar
  2. Beauman, Sally. The Royal Shakespeare Company: A History of Ten Decades. Oxford: Oxford University Press, 1982.Google Scholar
  3. Behr, Edward. Les Misérables: History in the Making. London: Jonathan Cape, 1989.Google Scholar
  4. Berry, Cicely. Voice and the Actor. London: Harrap, 1973.Google Scholar
  5. Bruce, Michael. Writing Music for the Stage. London: Nick Hern Books, 2016.Google Scholar
  6. Curtin, Adrian. ‘Designing Sound for Shakespeare: Connecting past and present’ in John Brown and Stephen di Benedetto (eds), Designer’s Shakespeare. London: Routledge 2016, 152–69.Google Scholar
  7. Darnley, Lyn. ‘Artist Development and Training in the Royal Shakespeare Company’. PhD Dissertation, Royal Holloway University of London, 2013.Google Scholar
  8. Lehmann, Hans-Thies. Postdramatic Theatre. Trans. Karen Jürs-Munby. London and New York: Routledge, 2006.Google Scholar
  9. Lindley, David. Shakespeare and Music. London: Bloomsbury, 2006.Google Scholar
  10. McMillin, Scott. The Musical as Drama. Princeton and Oxford: Princeton University Press, 2006.Google Scholar
  11. Morley, Sheridan. The Great Stage Stars: Distinguished theatrical careers of the past and present. London: Angus & Robertson, 1986.Google Scholar
  12. Nightingale, Benedict and Palmer, Martyn. Les Misérables: From Stage to Screen. London: Carlton Books, 2013.Google Scholar
  13. Rodenburg, Patsy. Speaking Shakespeare. London: Methuen, 2005.Google Scholar
  14. Smith, Bruce R. The Acoustic World of Early Modern England: Attending to the O-Factor. Chicago and London: The University of Chicago Press, 1999.Google Scholar
  15. Sternfeld, Jessica. The Megamusical. Bloomington: Indiana University Press, 2006.Google Scholar
  16. Taylor, Millie and Symonds, Dominic. Studying Musical Theatre. London: Palgrave, 2014.CrossRefGoogle Scholar
  17. Vermette, Margaret. The Musical World of Boublil and Schoenberg. London: Applause Books, 2007.Google Scholar
  18. Zuccarini, Carlo. ‘The (Un)Pleasure of Song: On the Enjoyment of Listening to Opera’ in Dominic Symonds and Millie Taylor (eds), Gestures of Music Theater: The Performativity of Song and Dance. Oxford and New York: Oxford University Press, 2014, 22–36.Google Scholar
  19. Matilda. Original Cast Recording. CD. RSC Enterprises: RSCE 002, 2010.Google Scholar
  20. Merry Wives: The Musical. CD. RSC Enterprises, 2006.Google Scholar
  21. Barnett, Laura. ‘Cicely Berry, Voice coach to the stars.’ The Guardian, 24 July 2011. https://www.theguardian.com › Arts › Stage › Royal Shakespeare Company 24 July 2011 [Accessed 23 April 2017].
  22. Billington, Michael. ‘Merry Wives: The Musical’. The Guardian, 13 December 2006. https://www.theguardian.com/stage/2006/dec/13/theatre.rsc. [Accessed 21 August 2017].
  23. Dickson, Andrew. ‘Trevor Nunn: A Life in Theatre.’ The Guardian, 18 November 2011. https://www.theguardian.com/stage/2011/nov/18/trevor-nunn-life-in-theatre. [Accessed 26 April 2017].
  24. Eyre, Richard. ‘Sir Peter Hall: Godfather of British theatre turns 80.’ The Independent, 19 November 2010. http://www.independent.co.uk/arts-entertainment/theatre-dance/features/sir-peter-hall-godfather-of-british-theatre-turns-80-2137729.html. [Accessed 26 April 2017].
  25. Kelly, Dennis and Minchin, Tim. Matilda the Musical. RSC, 12 September 2011. https://www.youtube.com/watch?v=RR5bUzf1JVc. [Accessed 10 June 2017].
  26. Minchin, Tim. Making Matilda, Episode 2: Composer Tim Minchin on Tapping into Everybody’s Inner Child. Broadway.Com, April 2013. https://www.youtube.com/watch?v=_thmK0qVzNY. [Accessed 10 July 2017].
  27. Minchin, Tim. Interview with Tim Minchin – Matilda the Musical. RSC, 12 September 2011. https://www.youtube.com/watch?v=qaDSSszB92A. [Accessed 10 July 2017].
  28. Orme, Steve. ‘Merry Wives the Musical’ British Theatre Guide, 2006.http://www.britishtheatreguide.info/reviews/RSCmerrywives-rev. [Accessed 21 August 2017].
  29. RSC. ‘Bringing a Production to Life’ RSC Information Sheet, January 2009.Google Scholar
  30. RSC. RSC Members’ News. September 2010.Google Scholar
  31. Spencer, Charles ‘Trying too hard to be merry’ The Telegraph, 13 December 2006. http://www.telegraph.co.uk/culture/theatre/drama/3657104/Trying-too-hard-to-be-merry.html. [Accessed 21 August 2017].
  32. Tims, Anna. ‘How We Made Les MisérablesThe Guardian. Tuesday 19 February 2013. https://www.theguardian.com/stage/2013/feb/18/how-we-made-les-miserables. [Accessed 03 July 2017].
  33. Brown, Richard. Interview, National Theatre Foyer, London, 12 September 2014.Google Scholar
  34. O’Neil, Bruce. Interview, Rehearsal room at The Courtyard Theatre, 12 September 2016.Google Scholar
  35. Sekacz, Ilona. Interview, At her home near Stratford, 25 April 2016.Google Scholar
  36. Yershon, Gary. Backstage at Old Vic Theatre, London, 3 October 2016.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Millie Taylor
    • 1
  1. 1.Department of Performing ArtsUniversity of WinchesterWinchesterUK

Personalised recommendations