- Hardcover: 448 pages
- Publisher: Bloomsbury Publishing PLC; First Edition edition (6 Oct 2003)
- Language English
- ISBN-10: 0747565899
- ISBN-13: 978-0747565895
- Product Dimensions: 23.4 x 16 x 4.4 cm
- Average Customer Review: 4.7 out of 5 stars See all reviews (3 customer reviews)
- Amazon Bestsellers Rank: 654,164 in Books (See Top 100 in Books)
National Service: Diary of a Decade at the National Theatre
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Review
'A matchless chronicle of arguably the finest decade in the National's history ... nothing could testify to its continuing vitality than this with more vigour and eloquence than this rich, enthralling book' Sunday Times 'A superlative record of a theatre, a man and a time' Simon Callow, Guardian 'Insistent, persuasive, disarming and catching' Daily Telegraph 'If there was an equivalent to the Archbishop of Canterbury in the theatre, it would surely be the director of the National ... Eyre's book is a compulsive and rewarding read ... He can be pithy; he can be painterly and, occasionally, surprisingly tender ... Would the memoirs of George Carey matter to us as much? I doubt it' New Statesman
--This text refers to the
Paperback
edition.
Daily Telegraph
‘Insistent, persuasive, disarming and catching’
--This text refers to the
Paperback
edition.
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Paperback
This is a magnificent, utterly absorbing book.
Not only does it give you a fascinating insight into the mind and working practices of one of the most brilliant theatre directors, but it shows the frustrations (sometimes misery) and complications of running an enormous organisation, while doing another job in parallel.
He tells (with absolute honesty) the story of the ten years in which he ran The National Theatre: the rehearsals, the first nights, the notices (good and bad)- and more than that, the meetings, the people and the politics (quite literally: Blair, Thatcher, Major and Kinnock are all here, as well as the more familiar theatrical greats such as Fiona Shaw, Deborah Warner, Alan Bennett, David Hare, Maggie Smith and Judi Dench).
What is striking is how recognisable Eyre's situation seems. On one hand, this is a unique account: how many of us have ever run the country's largest theatre? On the other, this is a story of a man whose great skill in one area - directing theatre - leads him into doing a job for which he has little training: running a huge organisation. Anyone who has got to the top of their profession, and then suddenly had "management" thrust upon them will recognise the frustrations, the politics and the draining demands made.
But this is an exhilarating book, for all its public and private disappointments, it is also full of triumphs - as any account that includes Eyre's "Guys and Dolls", " Amy's View". "David Hare Trilogy", "John Gabriel Borkman" and "King Lear" (to name but a few) would have to be.
Not only does it give you a fascinating insight into the mind and working practices of one of the most brilliant theatre directors, but it shows the frustrations (sometimes misery) and complications of running an enormous organisation, while doing another job in parallel.
He tells (with absolute honesty) the story of the ten years in which he ran The National Theatre: the rehearsals, the first nights, the notices (good and bad)- and more than that, the meetings, the people and the politics (quite literally: Blair, Thatcher, Major and Kinnock are all here, as well as the more familiar theatrical greats such as Fiona Shaw, Deborah Warner, Alan Bennett, David Hare, Maggie Smith and Judi Dench).
What is striking is how recognisable Eyre's situation seems. On one hand, this is a unique account: how many of us have ever run the country's largest theatre? On the other, this is a story of a man whose great skill in one area - directing theatre - leads him into doing a job for which he has little training: running a huge organisation. Anyone who has got to the top of their profession, and then suddenly had "management" thrust upon them will recognise the frustrations, the politics and the draining demands made.
But this is an exhilarating book, for all its public and private disappointments, it is also full of triumphs - as any account that includes Eyre's "Guys and Dolls", " Amy's View". "David Hare Trilogy", "John Gabriel Borkman" and "King Lear" (to name but a few) would have to be.
Format:Paperback
Genuinely gives you a taste of what it's like to run a major theatre. This job demands: an exceptional manager, artistic director, diplomat, theorist and writer.
Fascinating to see the emotional journey he repeats each time he embarks on a new production: genuine terror and self-doubt, then hope, then sometimes jubilation but more often disappointment.
Surprises: the political agendas of the critics; the fact that RE seems to attend more political meetings than meetings to discuss the arts; how dark an art it is to select and/or commission plays.
Inspiring example of the importance of developing a thick skin.
RE's sheer intelligence bowls me over; also, his kindness.
Fascinating to see the emotional journey he repeats each time he embarks on a new production: genuine terror and self-doubt, then hope, then sometimes jubilation but more often disappointment.
Surprises: the political agendas of the critics; the fact that RE seems to attend more political meetings than meetings to discuss the arts; how dark an art it is to select and/or commission plays.
Inspiring example of the importance of developing a thick skin.
RE's sheer intelligence bowls me over; also, his kindness.
1 of 2 people found the following review helpful
Format:Paperback
This is a wonderful description of life inside a publicly subsidised bubble. It is full of right on opinions shared by the chattering classes which confirm the old definition of a liberal as someone who hates his own country. It has some very good jokes and theatrical anecdotes and a sharp degree of bitchiness about other art forms --"...the world of opera:self important and irredemiably elitist." Sounds like a good description of the National Theatre!
What other head of an organisation could have so many self admitted poor results and still keep his job. Oh yes, one whose work was heavily subsidised by those who neither saw nor cared about his business.
What other head of an organisation could have so many self admitted poor results and still keep his job. Oh yes, one whose work was heavily subsidised by those who neither saw nor cared about his business.
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