From One Blogger To Another: An Interview With Florence Bell

From One Blogger To Another: An Interview With Florence Bell

This week, I “interviewed” Florence Bell, a theatre blogger and theatre kid.

I say interviewed; it was more of a chat. Florence is a good friend of mine, and a fellow English student at the University of Nottingham. She wrote her first blog post in December 2016.

Florence Screenshot 2

The first play Florence ever saw was an amateur pantomime production of A Christmas Carol. “I was around three years old, and I remember the guy who played Scrooge putting pyjamas on top of his clothes. Of course, the audience was meant to suspend their disbelief, but three-year-old me was blown away that someone could wear clothes under their pyjamas.”

Since grappling with the discovery of costume in theatre, Florence has moved on to grapple with plays at an advanced critical level.

“I had been tweeting about theatre for a while and people kept encouraging me to start a blog, or asking me if I had a blog. I had been thinking about it for a while, but a few people suggesting it was all it took.” she said.

“I had already booked to see Mary Stuart at the Almeida Theatre and I knew that I’d be able to write an in-depth and interesting review of it. I probably spent more time on that review than on anything else I’ve ever written. I wanted it to be perfect. I wanted to grab people’s attention. I wanted to make a splash.”

‘I wanted to grab people’s attention.’

Florence certainly did make a splash; prominent theatre critics including Andrew Haydon and Matt Trueman both praised and retweeted her first blog post.

Florence Screenshot 3

She is upfront about writing, as well as reading, honest reviews.

“I like reviews that say what they mean, because that’s what they are meant to do. Reviews that mock awful shows can be fun to read, but they’re rarely the best reviews. My favourite reviews to read are assertive, thoughtfully considered, and beautifully worded.”

“I stopped writing negative reviews because all I was doing was annoying people who might employ me when I graduate, and there’s no point in being cruel. It’s fine to be critical – sometimes even mean – but constructive criticism is always best. It’s rude to both the theatre makers and your readers to take the piss out of a show and not give a careful and considered approach to what went wrong.

‘It’s fine to be critical – sometimes even mean – but constructive criticism is always best.’

If I’m going to be really negative about a show, instead of just slating it, I’d rather engage with it on a political level. That way, I can explain why the show had issues.Florence Screenshot 1 Sometimes I am too finicky though. I went to the theatre with a friend recently and I think I weirded her out by asking: Do you think this is problematic?’ during the interval!”

However, although she’s been blogging for a few months, Florence is adamant that writing is not her end-goal.

“I don’t want to be a critic and I don’t want to be a journalist. I don’t think I have a ‘writing style’ either –  other than an overuse of parentheses and a reliance on long paragraphs.”

“I like to think that my writing isn’t dissimilar to Meg Vaughan’s, but I’m kidding myself.”

“I write blog posts for fun.” she continued, “This is something I’m doing while at university, and I’ve met lots of cool people doing it, but being a critic is just not what I want to do with my life.”

Instead, Florence wants to be a director, and theatre has always been a big part of her life.

She has seen a variety of productions, but for her, it all started with a production of Oresteia. “It’s still my favourite play. I know half of it off by heart. Most theatre fans hum along to their favourite showstoppers in the shower. I recite bits of Oresteia in the shower.”

‘I recite bits of Oresteia in the shower.’

As someone who is not so much of a theatre kid, I steered the conversation towards a common interest of ours – Shakespeare.

As part of the BA English course at the University of Nottingham, both Florence and I chose a module title Shakespeare’s Histories: Critical Approaches. The texts we looked at were Richard II, Henry IV Part 1, Henry IV Part 2, and Henry V.  Eagle-eyed followers may note this is why some of my blog posts focused on these last year.

Shakespeare’s Histories has been one of the most enjoyable aspects of studying English at Nottingham so far.” Florence said, “The plays we studied will always have a fond place in my heart; the module really got me into the degree. I think it helped me settle in. And I met you through Shakespeare’s Histories, so that’s always a plus.”

I blush.

When asked about her favourite Shakespeare productions, Florence said, “In terms of a director’s vision, Ivo van Hove’s Kings of War and Roman Tragedies, Thomas Ostermeier’s Richard III, and Icke’s Hamlet. Cheek by Jowl’s The Winter’s Tale and Deborah Warner’s King Lear were also gems.” she said.

‘There’s no such thing as a hard and fast rule to as what makes theatre good, and I’m definitely not the person to ask.’

“I find original practices productions, like Dromgoole’s production at Shakespeare’s Globe, quite hard to engage with. I’m interested in directors who are capable of cutting the text and finely tuning their stagecraft to engineer a tone and an atmosphere based on the events in the play, and actors capable of making Shakespeare’s words sound like they were written yesterday.”


Quick-fire Questions:

Favourite theatre actor?

Andrew Scott or Hans Kesting.

Favourite theatre actress?

Lia Williams, duh.

If you could be any female character in any play who would you be and why?

Most of the plays I see are far too depressing to actually want to be any of the women in them. None. Literally none.

What about a male character?

Nope.


At any rate, it’s clear Florence is a confident theatre blogger and theatre kid but, crucially, she is not a theatre critic. She has other plans for when she grows up.

‘What do you wanna like be when you grow up?’

‘I am grown up.’

(Annie Baker, The Flick at The National Theatre)
(Florence Bell, Top Ten Plays of 2016)

***

Thank you for reading! I had so much fun talking to Florence and writing this interview. Please click ‘Like’ if you enjoyed, and share it around.

You can find her blog at: bellflorence.wordpress.com

You can follow both of us on Twitter as well:

– Judith

 

 

 

 

Advertisements

NTL Review: Twelfth Night

NTL Review: Twelfth Night
  • Title: Twelfth Night
  • Director: Simon Godwin
  • Broadcast: 6th April 2017

I went to see Twelfth Night, broadcast by National Theatre Live on Thursday night.

Initially, I wasn’t sure whether to write this review or not, – theatre isn’t my forte – but once I left the cinema, I had so many thoughts about the production and I wanted to share them.

Godwin’s Twelfth Night is a play which, for the first time that I’ve seen, truly foregrounds the Malvolio subplot of Twelfth Night – or should I say, the Malvolia subplot.

Tamsin Greig played Malvolia, a female representation of everybody’s favourite self-righteous and controlling steward. Although characters’ teasing comments about her Quaker-like behaviour were still included, Malvolia was less pious and more of a narcissistic control freak, which made for good humour for a contemporary audience. The infamous scene with Malvolia’s yellow stockings now included a musical number, and watching Greig flaunt about the stage to musical accompaniment, as well as the horror of the other characters, was wonderful comedy.

NTL 1 [Malvolia].jpg
Photo by Marc Brenner via Twelfth Night Production Images.

This gender swap is one of a few changes made to the original Shakespeare play and spotlights contemporary issues surrounding gender roles and sexuality; Antonio’s implicit homosexual love for Sebastian is given more prominence (the two share on onstage kiss), the Malvolia / Olivia narrative suggests Olivia’s potential bisexuality, and Feste is now a woman.

Doon Mackichan played Feste, although I thought her portrayal fairly standard. She was a comical enough ‘fool’, but I felt her humour was at its peak when in interaction with Sir Toby Belch, played by Tim McMullan, and Sir Andrew Aguecheek, played by Daniel Rigby.

Every aspect of Rigby’s Aguecheek was absolutely hilarious; his body language, his line delivery, his costume was all spot-on. Aguecheek, for once, finally had his own style and personality, which was such a refreshing change from other productions of Twelfth Night, in which Aguecheek is simply ridiculed, rather than developed as a character.

NTL 2 [Aguecheek and Belch].jpg
Left to Right: Rigby as Sir Andrew Aguecheek and McMullan as Sir Toby Belch. Photo by Marc Brenner via Twelfth Night Production Images.

However, I think the relationship between cruel mocker and light-hearted comedy is incredibly important in this production of Twelfth Night.

Before the screening, Greig said in a VT that Twelfth Night is a witty play with a continuously melancholic undercurrent, and I wholeheartedly agree with this.

Viola and Sebastian are torn apart from one another. Olivia falls in love with someone she thinks she knows, who turns out to be somebody different. Antonio admits his feelings for “Sebastian”, who in reality was Cesario, and is left rejected and crushed. Sir Andrew is repeatedly humiliated by Toby Belch’s manipulative schemes as well as repeatedly heartbroken because he knows he stands no chance at winning Olivia.  Malvolia comes to terms with her own sexuality and openly expresses her feelings for Olivia in front of the entire household, only to be laughed at, imprisoned and treated like a madwoman. Thus, Greig’s final line: ‘I’ll be reveng’d on the whole pack of you’, had such poignancy, that I felt more sympathetic for the plight of Malvolia then I ever had before.

Godwin’s Twelfth Night was thoroughly enjoyable, brilliantly comedic, but also cleverly melancholic and thought-provoking.

In short, when can I see it again?

– Judith

If you’d like to read about more this production of Twelfth Night, you can click this link to go the National Theatre Live website, or read this article by Susannah Clapp in The Guardian.