Eyam is a new play by award-winning writer Matt Hartley who turns his attention to the real village decimated by plague in 1665. Directed by Adele Thomas, Eyam opens 15 September.
Annette Badland will play Rev Stanley Zora Bishop will play Elizabeth Hancock/Elizabeth Sheldon Adrian Bower will play Phillip Sheldon Priyanga Burford will play Katherine Mompesson Sam Crane will play William Mompesson John Paul Connolly will play John Hancock Becci Gemmell will play Elizabeth Sydall/Mary Talbot Will Keen will play John Sydall Norah Lopez-Holden will play Emmott Sydall Luke MacGregor will play Edward Cooper/ Rolland Torre Jordan Metcalfe will play Francis Bockinge/George Viccars Oliver Ryan will play Unwin Sirine Saba will play Mary Cooper Howard Ward will play Marshall Howe Rosie Wardlaw will play Harriet Stubbs
The brief for the design of Emilia was two-fold: one was the information and conceptual elements that came from Morgan [Lloyd Malcolm], the writer, and Nicole [Charles], the director; and the other was having to work within the building and reflect the architecture, because the Globe itself is used as an actual location in the play. So we had the task of bringing both the conceptual and tangible influences into one coherent design.
In terms of working with Morgan and Nicole, I think the inspiration for the whole piece comes from the character of Emilia herself and her historical and fictionalised journey playing in parallel with a lot of the journeys that creative, outspoken and intelligent women still face today. There are unsurprisingly quite a lot of themes and ideas in Emilia that are timeless. The audience and the play are obviously divided by centuries, so there’s a really nice visual paradox that we’re playing with in the language of the set design and the costumes.
Staging the play for this theatre is a wonderful thing because the crescendo of Emilia’s journey takes place at the Globe Theatre. It’s an incredible scene which I think essentially dictated the design and the costume.
We wanted to reflect the patriarchy of the written word in the design. You’ll see on the stage there are a lot of tall, stacked, hard-to-reach bookcases which are inhabited by recognised old tomes that represent the institution or those who have been recognised and held in history. That is how we visualised that battle and inequality within the perceived hierarchy and the patriarchal nature of language at the time.
I’ve tried to feminise the architecture of the Globe. The thrust stage comes out into the audience. We’ve made it even more democratic and accessible to represent the fight Emilia is trying to fight, but it’s fun as we’ve got a space that is coming out into the groundlings and we’re going to try and involve them in part of the performance. It also means you can lose yourself in the set designs, and equally reminds you that this building was essentially built for the majesty of Shakespeare’s work, and what it must have meant to be a woman with a voice but not to have been recognised to the same degree.
I’ve done nearly 50 costume fittings in the last three weeks! What’s wonderful about the costumes is that we’re trying to draw parallels between London 2018 and Elizabethan England. We’re playing with traditional costuming shapes and structures with a stylised flare that allows you to see past the embellishment, and lets you focus more on the structures as well as the presentation of gender.
We have an amazing cast made up entirely of women so there’s a lot of playing with gender. Dressing the female cast members up as some of these quite horrific male characters has been fantastically enjoyable actually and the cast has really taken to it.
All the ‘Bankside women’ in the play have the structures of traditional costume, but we’ve made it all out of very modern workwear materials such as denim, utility cottons and we’ve tried to make parallels with modern fashion such as the French blue work overcoat that you’ll pass many times on Shoreditch High Street. They’ve all got a similar colour palette which Emilia also wears, and so when she moves from the court to Bankside, it appears that she slots in immediately with these women. Nicole describes that moment as Emilia finally finding her tribe. Everyone in court is really structured and corseted, and then when we get to Bankside everyone is looser and freer, and it feels like a more comfortable and safe world to explore their identities.
One of the things that has struck me most throughout the process is how brilliant and talented the backstage team are here. They have such a wealth of knowledge that is unrivalled. They helped mould the design into what it is with the correct historical context.
Jo Scotcher is the Designer of Emilia and the winner of the Whatsonstage ‘Best Set Designer’ award, 2011.
This winter we invite you to play by candlelight in the gilded beauty of the Sam Wanamaker Playhouse as we look to the past in order to question the present.
In our first festival of the season – ‘Ambitious Fiends’ – we pair Macbeth, Shakespeare’s meditation on the corrosive nature of power, with Christopher Marlowe’s pact made between the devil and Doctor Faustus.
In the new year, we find ourselves ‘On the Shoulders of Ghosts’ as we turn our gaze to notions of identity, sexuality, desire and power in Richard II and Edward II.
We invite today’s writers to respond to Shakespeare and Marlowe with a range of new writing. Dark Night of the Soul is a collection of writing by women responding to the Faustian bargain, whilst After Edward regards the king with a queer eye.
Ralegh: The Treason Trial is an immersive verbatim account of the trial of an Elizabethan hero, performed 415 years after it shocked the nation. Before a short run in the Sam Wanamaker Playhouse, you can catch it in Winchester Great Hall, the location of the original trial.
Looking forward, Playing Shakespeare with Deutsche Bank, our production for young people, will share the story of the tragic romance of Romeo and Juliet.
Our Read Not Dead series continues to shed light on rarely performed plays including Edward I by George Peele, and we have Macbeth and Henry V storytelling and workshops for families.
Special events include Armistice Day, marking 100 years since the end of the First World War, and our Winter Wassail, a festive celebration of the season.
Join us this winter as we explore stories from the past, the ghosts of then, and the storytellers from yesteryear, and simultaneously, collectively, create the ghosts of ‘tomorrow and tomorrow and tomorrow’.
What’s past is prologue The Tempest, Act II, scene 1
Blanche McIntyre (The Comedy of Errors and As You Like It at the Globe in 2014 and 2015) directs The Winter’s Tale; Shakespeare’s great play of the irrational and inexplicable, opening on 22 June.
Here are the actors bringing the play to life:
Annette Badland will play Old Shepherd Zora Bishop is Emilia Adrian Bower is Camillo Priyanga Burford is Hermione Becci Gemmell is Autolycus Will Keen will play Leontes Norah Lopez-Holden will play Perdita Luke MacGregor is Florizel Jordan Metcalfe will play Young Shepherd Oliver Ryan is Polixenes Sirine Saba will play Paulina Howard Ward is Antigonus Rose Wardlaw will play Mamillius/Time
If you’re booking tickets for Shakespeare’s Globe in the next few months you will notice some changes. This is part of an ongoing project to improve the booking and online experience for you, our audiences, visitors and participants.
One of the biggest changes we are making is to implement a new ticketing and customer database system: Tessitura, which will form the base for future improvements.
If you’ve booked with us before, your previous account will have been transferred over, but you will need to reset your password to login. This blog provides a step-by-step guide of how to reactivate your account or create a new account.
Previously purchased tickets online with Shakespeare’s Globe?
Watch this video to find out how you can reactivate your account and continue to purchase tickets and update your preferences.
We would like to hear what you think about these changes, so we can make further improvements. We will continually be working to perfect your booking experience across the site and learn from the feedback you provide. If you have any comments or any questions, please do contact us at email@example.com
We are pleased the new system will deliver an ever-growing number of benefits, including, but not limited to those below.
Your online booking experience will be streamlined, with better functionality, cleaner design and a more flexible basket, if you’re booking for more than one production or event.
We have brought together our membership and booking databases. This means if you are a current member you will be able to manage your accounts and data; or buy a membership online and start using the benefits immediately.
All schools and education bookings will be held in one place which will enable us to provide a better service for our community of teachers.
There will be more online availability for visitors to our Exhibition who would like to purchase their tickets in advance.
It will be possible to organise more of your experience in advance, for example you will be able to make a dinner reservation at the Swan at the same time as buying you theatre tickets.
We will be able to better communicate with you, providing you with relevant and useful information and engaging content.
We will be introducing a virtual queuing system for busy booking periods, such as when our Summer and Winter seasons go on sale for members and the public.
We will be able to continue to improve our Access facilities and will continue to work with members of our Access Scheme to finesse the online service for visitors with Access needs.
As of 24 April 2018, we have a brand new ticketing system. We understand that you may have some questions about the new system and how it works.
Below are some FAQs that give you more information about the new system and answer some common queries. Please ensure you have watched our step by step video guides below that will guide you through the new system.
As of 25 April 2018, we have a brand new ticketing system. Any previous passwords you have are from our old system are now invalid and therefore need to be reset.
Why do you have a new ticketing system?
In order to improve your online ticket-buying experience, we have a new and improved ticketing system that will manage all bookings to productions, workshops, events and more, as well as manage membership and donations.
Is this because you have a new website?
Our full new website is currently under construction and will be launched later in 2018. The changes today will only affect the ticketing pages of our site.
So how do I access my new account, what do I need to do?
Creating a new account is simple, but we’ve created a step-by-step video guide if you need any assistance.
What can I do with my account?
Once logged in, you can buy tickets, become a Member, donate and update your communication preferences and contact details.
I am a completely new user, I have never used the ticketing website before.
If you are new to the ticketing site, please register for a brand new account, you do not need to “reset your password”.
Do I have to create an account?
In order to buy tickets online you need to create an online account, yes. If you have opted to receive marketing emails from us, you can also use your online account to update your communication preferences or unsubscribe.
What happens if I have already bought tickets for an event that hasn’t taken place yet? Did my tickets transfer over?
Yes, providing you use the same email address. You should be able to see your upcoming bookings once logged-in to your account. If, for any reason, you can’t see these, please contact the Box Office and we will look into this for you.
I no longer want to receive any emails from you – can you remove me from your email list?
You can log in to your online account to update your contact preferences. You can also unsubscribe from Shakespeare’s Globe emails at any time with one click using the link at the bottom of our emails. In rare circumstances, we may need to contact you with important urgent information about a booking (e.g. cancelled performances) and we will send these updates even if you have unsubscribed from marketing emails. If you have any questions or would like to contact us about unsubscribing please email firstname.lastname@example.org
I want to update my contact preferences – how do I do this?
You can update your contact preferences by logging in to your account. You can also unsubscribe from Shakespeare’s Globe emails at any time with one click using the link at the bottom of our emails.
How do you store and use my data?
I’m a Member, how will this new system affect my membership and priority booking?
If you are a Member and have booked online previously, then you will have an existing online account. In order to be able to access this account again and take full advantage of your priority booking rights, please reset your account password here. You will no longer need any membership number in order to buy tickets for the next priority booking period. Please ensure that you update your password ahead of the next members’ priority booking period later this summer to make sure that you have a smooth booking experience on our new system and to enjoy your members’ exclusive booking period.
I am not a member yet but I would like to be.
You can purchase membership in your account once you have logged-in.
I’ve been trying to book tickets all weekend and am having difficulties.
Our Box Office will be closed from Saturday 21 April 5pm and will re-open on Wednesday 25 April and you will now need to reset the password for your online account in order to buy tickets.
How will this new system change booking for new seasons in the future? When is the next season going to be announced?
Our new system will ensure a smooth priority booking and general booking experience for both members and non-members. The 2018/19 Sam Wanamaker Playhouse Winter Season and booking dates will be announced this Summer.
I have already joined the access scheme. Will I need to reapply and will I receive the same benefits?
If you are already on the Access scheme then you will continue to receive the same benefits and there is no need to reapply. However, as this is a new ticketing system, you will need to reset your password to login. In doing so, you will be able to book your access tickets online. (TBC by David)
I don’t have an online account as I always book in person, via telephone or via booking form (members) – do I still have to create one?
No, you do not need to create an online account if you wish to continue to book over the phone or in person. Your details have been transferred to our new booking system, as well as any future tickets you may have booked for the Summer season.
Members – you will still be able to take advantage of your priority booking membership benefits by sending in your priority booking form, as with previous season bookings. However, if you have not booked online before then this new system is a great opportunity to create a new account and to try priority booking online for the first time. Booking online means that you will have quicker access to tickets and you can choose your own seats.
How does this change how I book my access tickets?
Members of our Access scheme can continue to book tickets in the usual way, read more here. We will be updating this blog with details on improvements to access booking in the coming weeks. We will also be contacting everyone on our Access database with further information.
I’m having difficulty accessing my new account, how can I contact you for assistance?
We’ve published a blog today which should assist you in accessing your new account. Try following the step-by-step video guide. If you are still encountering difficulties, please contact the Box Office on email@example.com or call
Contagions, Historical Phenomenology and the Globe audience
Delivered in partnership with King’s College London, our MA in Shakespeare Studies offers exciting and unparalleled opportunities for Shakespeare students. Drawing on the joint expertise of Shakespeare’s Globe and King’s, students learn about the texts, companies and theatre spaces of early modern playhouses, just a stone’s throw from where Shakespeare’s plays were originally performed.
Amy Victoria Norris considers the Globe audience and their relationship with the actors on stage.
It’s been all change in these parts over the past few months. We’ve started a new term here on the MA, which means a whole new module at the Globe, and in our first plenary session of the month, actor and Globe Education Faculty member acting practitioner Dickon Tyrrell told us about sitting in the upper gallery as the strobe lighting was taken down to mark Shakespeare’s Globe transition into a new phase of artistic direction.
Acting on the Globe stage is, as the Globe’s Cause, a ‘radical theatrical experiment’, which we explored ourselves in our first plenary session of the month, entitled ‘Playing with the Globe audience’. We worked with Dickon to workshop what is different about being an actor on the Globe stage, specifically thinking about how to engage with your audience. An actor is so connected to their audience, in the shared light of the Globe Theatre theatre, that it becomes a reciprocal relationship; you are acting in the space of the audience, playing off their reactions at times. What stuck out to me what Dickon’s warning that an actor knows their audience has lost interest when they start swaying; he recalls noticing that the groundlings start to almost move in synchronicity from side to side when an actor has lost their focus.
This idea of the Globe audience, all moving together as waves in a sea, is interesting for our study this term; our new term at the Globe has brought with it our new favourite linguistic term… phenomenology. Try saying that three times fast(!) Historical Phenomenology encourages a study of early modern performance that takes into account what it would have been ‘felt’ like to experience theatre in context. For our purpose, this means considering what it was like to be an Early Modern audience. Therefore, it is integral to this term’s module at the Globe: ‘Staging Shakespeare in Early Modern Playhouses’.
Particularly interesting to us has been the early modern idea of ‘contagion’ in a theatrical environment; Shakespeare’s audiences would have believed they could be literally infected by the actions of the stage. Allison Hobgood uses the example of Macbeth to explore how attending a performance would put an audience member at risk of catching the kind of fear played out onstage, which could affect the balance of your humours and cause embodied illness. The permeability of one’s skin, especially when all cramped together as groundlings, means that not only could physical ailments like the plague spread quickly, so could emotions and sins performed onstage which could be literally infectious. Both the physical and the emotional contagions move through the crowd like Dickon’s wave simile. The Globe, whether it’s the first or third space of that name, demands a connected audience.
We also got a chance to be a part of the audience ourselves three times this month, firstly to see the Rutgers’ Conservatory performances of both Richard III and 1 Henry IV. Being an MA student here is to be a part of the Globe Education family, and we were all thrilled to be invited to see the work of BFA and MFA Acting majors from Mason Gross School of the Arts at Rutgers, University in New Jersey, who have spent their junior year training here.
We returned to the theatre as groundlings again to see the Playing Shakespeare with Deutsche Bank production of Much Ado About Nothing, a 90-minute fast-paced performance of one of my favourite plays. These performances are a great way to see some super high-energy Shakespeare; I fear we MA students were maybe approaching on as raucous as we imagine early modern playgoers to have been!
This performance was a finale to my highlight of the month; the Globe’s inaugural postgraduate conference, organised with London Shakespeare Centre. We were lucky enough to have the call-for-papers extended to not only doctoral but also MA students, and I therefore had the chance to present a snippet of my early dissertation research, and get some really helpful feedback and pointers. From the very first day of my course, I have felt encouraged and accepted as part of a larger academic community as Masters student here. The bodies you’ll interact with as a postgrad at King’s and the Globe accept that you have a valuable voice as an MA student, and encourage you to contribute to the larger academic conversation. It’s really a community like no other.
We ended the month with the Globe in snow (the ‘Snow-Globe’, if you please), I took a quick break from my Tuesday afternoon volunteering session in the Globe’s archives to have a small-scale photo shoot and snowball fight on the roof terrace overlooking the theatre whilst the cast continued with a show of Much Ado. Even as everything around us in London ground to a halt like we’d never seen snow before, the show must go on!
Further Reading on Phenomenology:
Bruce Smith, Phenomenal Shakespeare (Wiley Blackwell)
Allison Hobgood, Passionate Playgoing in Early Modern England (Cambridge: Cambridge University Press, 2014)
Katherine Craik and Tanya Pollard (eds) Shakespearean Sensations: Experiencing Literature in Early Modern England (Cambridge: Cambridge University Press, 2013)
Studying Shakespeare at the Globe: MA students reflect
in partnership with King’s College London, our MA in Shakespeare Studies offers
exciting and unparalleled opportunities for Shakespeare students. Drawing on
the joint expertise of Shakespeare’s Globe and King’s, students learn about the
texts, companies and theatre spaces of early modern playhouses, just a stone’s
throw from where Shakespeare’s plays were originally performed.
the first of a series of blog posts, current student Stephanie Donowho
reflects on a magical night of discoveries (and dancing) on the Globe stage.
The first few weeks of the MA Shakespeare Program were a mixture of joyous discovery and growing anticipation. There are many things about the program that immediately excited us. Our classmates hailed from all over the world; I’m from the United States, and other people in my year come from Australia, Ireland, Norway, Canada, and India, just to name a few. Our professors, once intimidating and recognizable names from leading scholarship on the early modern period, were becoming familiar and encouraging advisors. Each week, we met for class at the Sackler studios just around the corner from the Globe theatre. One night, we would receive a lecture from an architect who worked on creating the Globe; another night, we’d get a hands-on experience with the Globe’s model of an early modern printing press. But we were all looking forward to the night in November (once the Globe’s summer season had ended) when we would be allowed to get up onto the Globe stage ourselves and explore this unique space.
Our first class on the Globe stage was a two hour block of independent study – there would be no faculty or staff on hand to guide or direct us. We were allowed to use the time however we wanted to get to know the space and put into practice all that we had learnt in our seminars and lectures. We sent eager messages back and forth, brainstorming how we wanted to spend these two hours. We wanted to do things as a whole group that took advantage of the full space of the stage, getting to know how it felt to move and speak in that theatre. We also wanted to learn something about how that experience may have taken shape in Shakespeare’s own time.
We landed on a seemingly simple activity: a cue script. In the early modern period, actors didn’t receive the full text of a play. (It would have taken a long time for someone to write out 14+ copies of a play by hand!) Instead, they learned their part from a cue script, which only contains the lines that they speak and the lines that come right before – their cues. What does a first rehearsal look like when each actor only has their own cue script, and no director is assigned to manage stage traffic? We decided to find out!
We created cue scripts for all of the characters in Act 3, Scene 1 of Julius Caesar – the scene where Caesar is stabbed by Brutus, Cassius, and the rest of the conspirators. Nearly everyone had a role to play, and the rest of us watched from the yard. We pieced through the scene like a puzzle, often starting and stopping as we discovered clues about the scene in other people’s lines. We experimented with the three main doors of the stage as we decided which characters needed to enter from different places. We snuck around the two large pillars ad used them to plot and hide. We discovered how the Globe’s stage could be used to create multiple simultaneous spaces and scenes, as clusters of conspirators emerged and alliances formed. For example, certain characters were not always supposed to hear what other characters were saying. When Brutus says,
Cassius, be constant:
Popilius Lena speaks not of our purposes;
For, look, he smiles, and Caesar doth not change.
Caesar and Popilius stood elsewhere on the stage, creating a separate imaginary space for themselves. We even experimented with putting the soothsayer up on the balcony, to get a feel for the different levels available to actors at the Globe.
By the end of the scene, we’d learned a lot about the process of putting a play together from a cue script and the possibilities of performance on the Globe stage. We all felt a bit more comfortable in this special space, and ready to use this hands-on knowledge to active our academic imagination about early modern performance practices.
We also had quite a bit of time left, and hadn’t prepared anything else. After a quick fit of brainstorming – what was another early modern staging practice that we could use this unique space to understand? – we landed on something we thought we’d enjoy. A jig!
Or something like one, anyway. I used my rudimentary knowledge of the famous Footloose dance to assemble a team of dancers. What would it feel like to dance in a group on this stage? How much space would we each have, and how might that movement interact with the theatre as a whole?
Over the next few months, we would have many more hours on (and behind, and below) the Globe stage, as we came to know the inner workings and storied history of the theatre. I’m incredibly grateful for the access this program has given to me and my classmates, and I will always treasure those joyful moments from our first night on the stage and the freedom we had to play at Shakespeare’s Globe.
How long is forever? When the imprisoned Palamon and Arcite vow eternal friendship, they don’t expect that anything will come between them. But then from their cell window they see the beautiful Emilia, and their priorities take a sudden and violent turn. In this late romance, Fletcher and Shakespeare examine love in all its fluid and complex forms.
Moyo Akandé – Hippolyta Jude Akuwudike – Theseus Andy Cryer – Jailer Sue Devaney – First Queen Bryan Dick – Arcite Matt Henry – Pirithous Melissa James – Second Queen Francesca Mills – Jailer’s Daughter Kat Rose-Martin – Third Queen Paul Stocker – Palamon Ellora Torchia – Emilia Jon Trenchard – Wooer Jos Vantyler – Schoolmaster