The current Old Library exhibition at Magdalen is on Oscar Wilde – I curated it, alongside our former Fellow Librarian Christine Ferdinand. The exhibition is open to the public on 15, 22 and 29 November, and at other times by appointment (contact firstname.lastname@example.org ). Displaying the very best of Magdalen’s holdings on one of our most famous alumni, the exhibition includes a little-known MS of Lady Windermere’s Fan, an array of first editions (and pirated editions!) from the UK and Europe, odd appropriations, Cecil Beaton costume designs, theatre programmes, salacious details from the trials, and (slightly heartbreaking) original letters.
On 21 November at 5.30 p.m. I’m giving a talk to accompany the exhibition, followed by a reception and viewing of the exhibition. To attend the talk, please email email@example.com – it’d be wonderful to see you there. Pia de Richemont reviewed the exhibition for Oscholars over the summer: read her review here.
P.S. this is a (reasonably) rare opportunity to get inside Magdalen’s beautiful Old Library
and see the petrified wig. To give you an idea, it’s the central image in my blog header (if you’re reading this on RSS, click here).
I’ve been working with the New Vic Theatre, Newcastle-under-Lyme on Abbey Wright’s forthcoming production of Henrik Ibsen’s Ghosts. At one point, one of the actors thanked me for “all my work” with them. Now, obviously I used “work” twice in that sentence, but a better definition for this part of my job would encompass “playing around in a rehearsal room whilst simultaneously making my research do something practical and seeing amazing characters come alive in front of my face” (this is, for me, the greatest joy and secret of directing or dramaturging plays: people voluntarily act out your favourite plays for you, in front of you, in ways influenced by your suggestions and wishes), rather than anything suggestive of painful industry or anxious effort. In addition to knowing the texts with a terrifying and hungry accuracy, actors routinely and almost upsettingly ask the best questions. This is true whenever I get into a rehearsal room. Generally these questions nag me forever. Usually, answering them (when I can) exposes something fascinating, offensive or just plain weird about the way theatre works and has worked. Days spent in theatres are my best professional days. I can’t wait to see Ghosts in action.
I’m also researching for my new project at Magdalen College’s Calleva Centre. At the moment, I’m hugely interested in (and reading everything possible about) casting in theatre – especially Shakespeare. The above trip to the New Vic was very helpful, since (PLOT TWIST) actors have quite a lot to say about the casting process (rather more, in fact, than existing scholarship). So far, I’ve been reading lots about colour-blind casting, gender-blind casting, and disability-conscious casting (in order of volume). I’m definitely looking for more actors, directors, and (above all) casting directors to discuss this with.
I have moved into my new office. It is up a lot of stairs. I am working to publicise a charity abseil (more on that soon). That will involve a lot of stars too.