2.1: Interview with my Parents! (DAD)

As the Typology belongs to my parents, I thought it was important to ask them a few questions about their collection, and also on the theatre company (for further information and as it may help with the direction of my major project). I'll put my Dad's answers then Mum's.

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  Andy Smith

  
  

  • DAD'S ANSWERS
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    How long have you been going to RSC?

    Since 1984.
    
    Why did you start going?
    Mum got a job as Merchandising Supervisor for the front of house retailing at the RST, and so got free tickets!
    
    What has made you keep going?

    Lots of reasons. I organise group ticket purchases for IBM. We have rarely been disappointed so we like to try the plays we haven't seen before, however unusual. Sometimes the lure of a big name actor. Sometimes we just know the play and look forward to a different interpretation.g
    
    Why do you buy the programmes for the plays you see?
    They provide a nice way to remember what we have seen. It is also nice to brifely remind yourself of the plot before the play starts. Looking through the cast is fun, seeing what else they have done.

    
    Do you think the programmes are important?
    Yes. They allow other departments to express themselves and provide a nice complement to the play.
    
    Why did you keep all the ones you bought?
    Too expensive to throw away! (joke) They are just a nice collection to have, and allow us to look back on some of our favourite productions and performances.
    
    

    Would you describe it as a collection. And if so, was it intentional as a collection?
    Yes, it is a collection, although I don't think we started out with that intention.
    Will you keep buying them in the future?
    Can't stop now!
    
    What's the most important part of the programme in your opinions?
    The synopsis of the plot and the information on the cast.
    
    What's your favourite parts of the programmes?
    Sometimes the articles that are related to the play or to social issues from the time of the play are very well written and interesting.
    Do you think the cover images reflect anything (on an obvious level) about the current times or social influences? Refer to my blog if it helps! Or are they purely decorative?
    I think they have generally tried to reflect the tone of the production, although they used to have more variety in doing this in our early days of going. There is more consistency of design now, although they still manage to capture something of

    the production, as well as the ensemble aspect of the cast.
    
    Do you think the cover art often reflects the feeling of the play well?
    Sometimes, yes. I think the 1984 Richard III and the 1985 Merry Wives programme covers really capture the mood of those productions. Later ones do too but they tend to be more literal. The 2012 Shrew cover really conveys the feistiness of the two principle actors.
    
    Do you prefer the newer, more photograp

    hic covers, or the older, more illustrative ones?

    That's hard to answer. I think some of the earlier more abstract covers are really clever, but aesthetically I like some of the photography and design of later covers.

    
    

    Do you like how the programme covers have progressed into this corporate form and remained unified in that way?

    I think some of the earlier programmes were more playful and that maybe some of that has been lost. I do like the later programmes, but I wouldn't say I prefer them.
    
    Do you have a favourite cover that you remember?
    2009 Arabian Nights - It's all in the eyes!
    Do the programmes represent the company profile of the RSC well?
    The later programmes are more corporate, more consistent, more professional perhaps. I do think that they are unmistakeably RSC even if you take off the logo.
    

    
    Do you see the programmes taking on different platforms of media in the future? (Eg, web based, video, emailed etc)
    Well, we've seen what Dusthouse is doing with their trailers, which seem designed to portray the mood rather than the plot. I think it would be good to explore other elements of the programme in a video form such as the rehearsal photos, and perhaps interviews with cast members. Maybe a cast members could read an overview of the plot. For those that forget to view before coming to a play touch screens could be provided around the theatre that allow these to be played. I'd like to see an

    equivalent of Google StreetView for the theatres so that the view from each part of the seating, and from the stage, could be explored.

    
    

    What kind of image to you get of the company from them?
    It's hard to be objective because we know the RSC so well. You should perhaps conduct a survey among people who don't know the RSC, maybe even masking the logo.

    
    

    What do you think of these possible changes? Good? Bad?
    Anything that makes the plays more accessible and appealing is good.
    
    

    Are you aware of the progression of the RSC's marketing through digital means? If so, what are your feelings on it?
    Any artistic company must explore new marketing methods to remain vibrant.

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