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Hamlet Refugee Week Hamlet

Hamlet Refugee Week Hamlet

HAMLET REFUGEE WEEK

CONTENTS.

LIKE LIKE AS YOU YOU AS SONNETS

3 Welcome

4 Hamlet

8 Synopsis 10 Bringing Hamlet Home by Dr Farah Karim-Cooper 14 Ensemble Voices Contributions from the Globe Ensemble 22 Biographies & Rehearsal Photos GLOBE ON 32 Do You Mark That? by Emma Smith TOUR 34 This Wooden ‘O’ GLOBE THE WINTER’S 36 The Globe Today PLAYER TALE 38 Education 42 Guided Tours & Exhibition 44 Food & Drink 45 Shop & Globe Player THE TWO 46 Support Us NOBLE EYAM 48 For Shakespeare’s Globe KINSMEN 51 Our Volunteer Stewards 54 Our Supporters

LOVE’S LABOUR’S LOST Shakespeare’s Tales WELCOME. Telling Dear all, Celebrate the joy of storytelling at Shakespeare’s Telling Tales, A huge, huge welcome to Shakespeare’s Globe our lively family festival, now in its third year. and to the start of our 2018 Summer . What better way to kick off than with the words ‘Who’s 27 – 29 July 2018 There?’ from our opening , Hamlet, followed Visit shakespearesglobe.com/tellingtales for news by : two plays that we know were about our festival line-up as it’s announced. written specifically for the unique architectural #TellingTales playing conditions of the wooden ‘O’. Where else can you say and hear the words ‘this distracted Globe’ or ‘All the world’s a stage’ and not be immediately aware of the in which you are sitting… or standing? Where else can Hamlet say ‘now I am alone’ and see the whites of the eyes of the 1,500 people that accompany him in that moment? There are, of course, as many understandings and interpretations of Shakespeare as there are people and if Shakespeare is one of our greatest playwrights, wrestling with the human condition in all its guises, then it must also be true that Shakespeare is for all. The plays are as eclectic, complex, simple, joyous, painful, elitist, irreverent, perfectly imperfect and as profoundly human as the human beings who present them and the human beings who watch them. was then – and still is today – another character in the play. Without you, who does Hamlet talk to? Without you, who does Rosalind ‘conjure’? The plays need you, the characters need you, the actors need you, the story needs you. Without you, we don’t have a play. And those plays in this theatre are a happening, a present moment experience, an ultra-live dialogue between player and spectator, in this single moment, standing and sitting next to people we may have never met before, whatever the weather, with visiting pigeons, and some helicopters hovering over our heads – all characters in this ‘distracted ASSISTED PERFORMANCES Globe’ to be acknowledged and embraced as we collectively share in the telling, and embark on the mythic and timeless journey of these Shakespeare’s Globe aspires to be the most inviting venue in the incredible stories. country. Audio-described, signed, captioned and relaxed performances As Hamlet says: come, let’s go together. take place throughout the season.

ACCESS INFORMATION LINE MICHELLE TERRY 020 7902 1409 Artistic Director 10.00am – 5.00pm, Monday – Friday [email protected] shakespearesglobe.com/access 3 THE GLOBE ENSEMBLE Directors Head of Wigs, & Make-up Federay Holmes & Elle While Pam Humpage Designer Deputy Head of Wigs, Hair & Make-up Catrin Aaron Helen Schlesinger Ellan Parry Hayley Thompson Claudius Hamlet Composer Deputy Head of Wigs, Hair & Make-up James Garnon Michelle Terry James Maloney (maternity cover) / Gravedigger / Player Marcellus / Reynaldo / Player Choreographer Victoria Young Tanika Yearwood Siân Williams Wigs, Hair & Make-up Deputy Laertes / Player Fight Director Sophie Jones Musical Director / Trumpet Bettrys Jones Yarit Dor Wigs, Hair & Make-up Assistant (In-Room) Adrian Woodward / Priest Globe Associate – Text Rachel Lidster Percussion Richard Katz Giles Block Wigs, Hair & Make-up Assistant Louise Anna Duggan Francisco / Player / Globe Associate – Movement Lucy Moore Trombone Jack Laskey Glynn MacDonald Props Manager Hilary Belsey Guildenstern Globe Associate – Voice Katy Brooks Trombone Nadia Nadarajah Martin McKellan Props Deputy Stephanie Dyer Rosencrantz Deputy Text Associate Rosheen McNamee Bass Trombone Pearce Quigley Christine Schmidle Deputy Heads of Stage Adam Crighton / Osric Costume Supervisor Dario Fusco, Paul Golynia

Shubham Saraf Lorraine Ebdon-Price Tiring House Assistant to the Designer Harry Booth, Niall Mulcahy Verity Johnson Venue Technicians Assistants to the Fight Director Gemma Hayter, Assad Jan Robert Myles, Enric Ortuño Prop Makers Assistant Costume Supervisor Claire Esnault, Emma Hughes, Hannah Trickett Penny Spedding Interpreters and Translation Additional Costume Makers Sophie Allen, Booth, Linda Bruce, Helen Dyer-Greeves, Jane Grimshaw, Kate Furby, Taz Hockaday, Alim Jadavji, Aislinn Luton, Hannah Williams Sue Maclaine, Alison Pottinger, Kathy Yeoman Breaking Down Gabrielle Firth Production Manager Millinery Wills Claire Strickland Stage Manager Rob Walker Researchers Deputy Stage Manager Dr Farah Karim-Cooper, Dr Will Tosh, Mary O’Hanlon Jennifer Edwards, Nina Romancikova, Assistant Stage Manager Tim Griggs, Humayra Yasmin HAMLET Debs Machin Head of Wardrobe THANKS Megan Cassidy To the guides for their support and COMPANY Deputy Head of Wardrobe understanding whilst the ensemble Emma Seychell were rehearsing on . Wardrobe Deputy Rosie Hodge All costumes for this production were made by Wardrobe Assistants (In-Room) the Shakespeare’s Globe wardrobe department. Daisy Banks, Felicity Langthorne, Sabia Smith Wardrobe Assistants Hannah Boggiano, Sally Scott

4 5 THEATRE DEPARTMENT PRODUCTION FRONT OF HOUSE Artistic Director Head of Production Front of House Manager Michelle Terry Wills Carly Davies Director of Theatre Company Manager Front of House Volunteer Coordinators Lotte Buchan Marion Marrs Lily Heathcock, Kate Hill Senior Producer Production Operations Manager Duty House Managers Tamsin Mehta Harry Niland Louise Bailey, Francesca Battinieri, General Manager Head of Stage Simon Hiler, Chelsea Holmberg, Javier Perez Jo Hawkes Bryan Paterson Opi, Tanya Page, Ian Pettitt, Verna Tucker, Producer Deputy Head of Production David Wright Matilda James Fay Powell-Thomas Box Office Manager Consultant Executive Producer Deputy Company Manager Justin Giles Laura Collier Kristy Bloxham Deputy Box Office Managers Director of Music Senior Production Coordinator Rachael Dodd, Matthew Hodson Bill Barclay Lottie Newth Box Office Supervisors Head of Casting Peter Bradshaw, Phil Dunning Karishma Balani SCREEN Literary Manager Programme Editor Jessica Lusk Head of Film Distribution Nicholas Robins Music Associate Chui-Yee Cheung Programme Assistant James Maloney Film & Digital Distribution Officer Phoebe Coleman Deputy General Manager Andrei Manta Programme Design Sarah Murray Hannah Yates Theatre Finance Officer Print Charlie Titterrell Spellman Walker Touring & Events Manager Helena Miscioscia Assistant to Artistic Director Monica Bakir Music Administrator Annique Reynolds Touring & Events Coordinator Pippa Davis Theatre Assistant Sharni Lockwood Theatre Apprentice Ria-Renee Wallace

6 7 SYNOPSIS

Hamlet’s Father, the King, has died. His mother, Gertrude, has recently married his Uncle Claudius. Claudius is now King of Denmark. On watch at the castle of Elsinore, Marcellus and Barnardo wish to prove to Hamlet’s friend Horatio that they have seen of the dead King, Old Hamlet. When the ghost appears to Horatio, he decides they must tell Hamlet. They find Hamlet at a court ceremony in which Claudius celebrates his marriage to Gertrude and also promises to deal with Young Fortinbras, Prince of Norway who is threatening Denmark. Both the King and Queen attempt to persuade Hamlet to be less consumed by grief for his Father. When everyone has left, Horatio urges Hamlet to visit the watch. There, Hamlet meets the ghost of his Father, who reveals that he walks because he was murdered by his brother Claudius. Hamlet warns Horatio and the others not to speak of what has happened. Polonius bids farewell to his son Laertes and warns his daughter Ophelia against Hamlet’s courtship. Later, she tells Polonius of Hamlet’s disturbing behaviour towards her. Polonius reports to the King and Queen that rejected love is the cause of Hamlet’s madness. Hamlet’s fellow students Rosencrantz and Guildenstern arrive, invited by the King to find out what is wrong. Polonius arranges for Ophelia to meet Hamlet where he and Claudius can secretly observe them. Hamlet and Ophelia argue, and Hamlet, having become suspicious about being observed, tells her she should go to a nunnery. Claudius is convinced that love is not the cause of Hamlet’s behaviour, and decides to send him abroad. Meanwhile, travelling players have arrived, and Hamlet asks them to perform ‘The Murder of Gonzago’ before the King, so that he and Horatio can observe Claudius’ reaction. The play begins and before it is half-done, Claudius suddenly leaves. Gertrude asks to see Hamlet, and Polonius decides to hide in her room to hear them talk. The title page of Hamlet from the ‘Munro’ , on loan to Shakespeare’s Globe. Photo Pete Le May Hamlet visits his Mother, and hearing an intruder, strikes him fatally through a curtain. He finds it is Polonius. He argues fiercely with Gertrude. The ghost appears, urging Hamlet to leave grave is for Ophelia. Hamlet fights with Laertes and declares his love his mother to the judgement of Heaven, and reminding him of revenge. Claudius instructs for Ophelia. Later, Hamlet tells Horatio how the trip to was Rosencrantz and Guildenstern to take Hamlet immediately to England. Claudius’ against his life, and how he managed to escape. Ophelia descends into madness. Laertes returns with popular support, blaming Claudius for his Osric finds the pair, and invites Hamlet to take part in a fencing match father’s death, and is shocked when he sees Ophelia. Claudius persuades him that Hamlet is to with Laertes. Hamlet accepts the challenge. With Hamlet in the lead, blame. Claudius is surprised to hear that Hamlet is returned to Denmark, and plots with Laertes Gertrude toasts him, and drinks from the poisoned cup. Laertes wounds to kill him. They arrange a duel in which Laertes’ sword will be poisoned. Claudius will also poison Hamlet with the poisoned rapier, and is then wounded with it by Hamlet. a drink, which he will offer Hamlet. Gertrude arrives with the news that Ophelia has drowned. Before he dies, Laertes blames Claudius, and Hamlet kills the King. Now close to death, Hamlet passes the Danish succession to Fortinbras. Now returned to Elsinore, Hamlet meets Horatio. On the way to court, they pass through a graveyard where a man is preparing a grave. When the funeral party arrive, they realise that the Synopsis adapted from Shakespeare’s Words by David Crystal & Ben Crystal, Penguin, 2002. shakespeareswords.com 8 9 Bringing Hamlet Home.

Playing Hamlet at the Globe can shed a special light on both the play and , writes Farah Karim-Cooper.

Hamlet was performed at the first Globe between 1600 and 1601. It would have been played during the summer alongside a fairly large repertory of plays staged by Shakespeare’s company, the ’s Men. The Globe’s capacities as a theatre had been tested the year before when it opened with plays like (with its storms and cosmic events requiring special effects), (a play which consciously asks the audience to imagine they see horses and countless soldiers before them) and As You Like It (that challenges its urban audience to see the theatre sometimes as an expansive forest, sometimes as an oppressive court, but always as a playful, elastic space). Hamlet, with its urgency, its melancholy, its meditations on being, on death and on human nature, is, of course, eminently transportable – it can be played anywhere. But when it comes home to the Globe, the words and action help to illuminate the architectural and elemental conditions of the theatre space. The Elizabethan – with their invocations of little worlds, the painted scenic cosmos as the backdrop, the actors’ bodily technologies (their skills, gestures, voices), the playwright’s language and the audience’s participation – construct an imaginative encounter that knows no limits. ‘This majestical roof fretted with golden fire’: the Globe heavens. The opening contains an exchange that in addition to posing a philosophical Photo Pete Le May concern of the play – ‘Who’s there?’ – conveys a sense of urgency, with its anxious picture of midnight, an hour inestimably dark during the early modern period. The play would have been performed, however, in the glaring light of midday, at some Seems, Madam? Nay it is, I know not ‘seems’. point during the summer under the sun or a grey sky. The stage, its actors, effects, ’Tis not alone my inky cloak, [] mother, costumes and properties made half of the meaning; the audience was compelled Nor customary suits of solemn black, to bring the other half through their cognitive engagement, creating a theatrical Nor windy suspiration of forc’d breath, experience that distinguishes the theatres of Shakespeare’s time from those of No, nor the fruitful river in the eye, our own. The first few moments of the play make this point abundantly clear: Nor the dejected havior of the visage, Together with all forms, moods [shapes] of grief, BARNARDO Who’s there? That can [denote] me truly. These indeed seem, FRANCISCO Nay, answer me. Stand and unfold yourself. For they are actions that a man might play, BARNARDO Long live the King. But I have that within which passeth show, FRANCISCO Barnardo? These but the trappings and the suits of woe. BARNARDO He. FRANCISCO You come most carefully upon your hour. Hamlet’s grief at his father’s death is real. He wears black not because it is a custom to do so, but because he feels the pain of loss. This speech, then, may sound like a critique of theatrical The short lines, the fear behind them demonstrate how Shakespeare’s language performance, but it is not. Performance is an important medium to Hamlet but it is a medium is suited to the playing conditions that make illusion (in this case the illusion of that is abused by power structures and this is what angers him and drives him to distraction. darkness) something to be performed. It is, therefore, significant thatHamlet But it also explains his joy at meeting the players who later come to Elsinore to entertain the is concerned with, among many other things, illusion versus reality, something court. Playing, performing, moving an audience is something powerful for Hamlet; he marvels Elizabethan theatres teased audiences into considering. The prince consistently that ‘in a fiction, in a dream of ’, the player ‘could force his soul so to his own conceit’ and and obsessively challenges himself to see the difference between the two. bring tears to his eyes, speak with a ‘broken voice’, and ‘all for nothing’. Playing or ‘passionating’ The discrepancies between surface appearance and truth, performance and (a word for acting in this period) is central to the play, which, when performed in the Globe, sincerity, corruption and morality, speak to the fears that Hamlet expresses in his heightens our awareness of this. When actors have extraordinary words and the tumultuous condemnation of the cultivated performance of social rituals such as grief: emotions beneath them, little else is needed.

10 11 MA in Shakespeare Studies An incredible opportunity to discover Shakespeare

Looking down from the Globe heavens to the stage trapdoor, which gives in the heart of . entry to the grave, hell or the underworld. Photo Pete Le May

The language of this play makes its audience account for its experience of being in the . It also weaves together the theatre architecture with the architecture of Hamlet’s mind. For example, in Act II, scene 2, when Hamlet is accosted by his ‘friends’ from university, he reflects upon his melancholy: I have of late, but wherefore I know not, lost all my mirth… it goes so heavily with my disposition that this goodly frame the earth seems to me a sterile promontory, this most excellent canopy the air, look you, this brave o’erhanging firmament, this Photo John Wildgoose majestical roof fretted with golden fire, why it appeareth nothing to me but a foul and pestilent congregation of vapours. In addition to this speech being a reflection on Hamlet’s mental The perfect MA course for students of Shakespeare, health and the relationship between the mind and the elements, the Globe Theatre is gently referenced here. Shakespeare reminds his this unique collaboration between Shakespeare’s Globe audience that the theatre architecture is designed to gesture toward and King’s College London offers a truly unparalleled a panoramic of the entire world, with its heavens, earth and hell as experience. appropriate reference points for symbolic as well as practical reasons. Direct access to the learning laboratories of both the On a sunny or a cloudy daylit afternoon, the sky would not have been Globe Theatre and the Playhouse. fretted with golden fire, of course, but the ‘canopy’ above the stage, also called ‘the heavens’ would have been painted to resemble an Research-led experiments with professional theatre artists. evening sky, perhaps with golden stars and cosmic bodies or the signs of the zodiac. Unquestionably, Hamlet dissociates his mental state Study with world-leading scholars. from the beauty of the sky but in doing so he calls attention to the theatre itself, suggesting its vital role in framing the play and shakespearesglobe.com/ma making meaning for the audience. The geography of the Globe Theatre – its heavens, earth, hell or underworld – is put to use in this play, whether it is evident when the Ghost insists Horatio and the Watch ‘swear’ (the actor is probably under the stage at this point – after all, Hamlet refers to him as ‘mole’), or when the trapdoor on the stage serves temporarily as a grave. No doubt, Hamlet can be performed anywhere, but the play’s

diverse meanings and its attachment to theatricality crystallize when Photo Pete Le May performed in its wooden home.

Farah Karim-Cooper is Head of Higher Education & Research at Shakespeare’s Globe. 12 Ensemble Voices.

Members of the Globe Ensemble discuss rehearsing Hamlet with As You Like It and approaching the plays, like Shakespeare’s company, as though for the first time. Drawings by Ellan Parry.

ELLE WHILE, DIRECTOR We had to hold our nerve leading up to rehearsals. The director and designer usually have an in- depth process to decide on the design and world of the play before starting on the first day with the acting company. We wanted to start from a place where we were responding collectively to the plays, each other and the Globe. It has been thrilling to see what a collection of minds can discover. We have developed an understanding and openness with one another, so that we are receptive to all offers, and the worlds of the plays have evolved out of our interaction with each other and the texts. The task has then been to develop the threads that tie our ideas together. In deciding when to rehearse which play throughout the ten weeks, we were keen to allow the plays to influence one another and began by switching fairly regularly between both plays. We then felt the need to dig further into each play and allow the actors to spend a sustained time inhabiting their character. As a by-product of this we have found the resting time on each play formative – it feels like every time we return to a play the have grown deeper while we were away. We have run an open rehearsal room so members of the Globe staff and the public have been in the room throughout rehearsals. It was something we felt strongly about from early conversations regarding the process. How do we lessen the shock transition from a sealed rehearsal room to the Globe stage with 1,500 people watching? How do we build the ensemble’s confidence to truly respond to whatever is thrown their way? The presence of people we don’t know in the rehearsal room has added another level of fear and vulnerability, which has been challenging. But it has also been a joy to witness, so immediately, the correlation between embracing vulnerability and engaging in the absolute truth of the moment. The convention of the fourth wall (imagining the audience aren’t there) is predominant in our current theatre culture, so it is brilliant for the actors to start revelling in the unexpected nature of inviting people into their characters’ thoughts and questions.

16 15 JACK LASKEY, ACTOR from my point of view has been to tie it all The Globe is the most inclusive theatre I’ve together so that everyone’s brilliant ideas had the privilege to work in – it’s a space and contributions can somehow work as a that changes day to day with the weather; whole, whilst embracing the frictions and that wears its history on its sleeve, where contradictions. It’s an intricate tapestry we’re everything and everyone has a vital part to creating, and if you tug a thread in one place, play in the story. The Globe Ensemble have it starts to unravel somewhere else. built these two productions with this inclusive Whilst the two plays aren’t strictly set in the spirit as our guiding light. The choice to open Elizabethan period, we’ve definitely drawn our rehearsal room to staff and students on the practices of Early Modern theatre working at the Globe has exposed us and our in our design choices. Elizabethan theatre vulnerability, as we’ve searched for pathways companies embraced a kind of playful and through these two extraordinary plays – we expedient anachronistic eclecticism in their carry the strength of that experience with us. visual worlds. Within a single play, audiences Like Shakespeare’s company, we’ve chosen would have seen a cheerful mash-up of to use some of our own clothes to perform objects and clothing recycled from earlier in, as well as costumes from previous Globe productions, made or acquired specifically productions: we carry that history with us. for a character or scene, the second-hand We’ve also chosen to not settle on ways of finery of aristocrats alongside the actors’ delivering our text but to keep on exploring own clothes – contemporary, historical and what these words mean to us and to the fantastical costumes and props meeting and audience we share them with each day: we mingling on the same stage. One striking carry this spirit of never ending playful enquiry feature of Elizabethan theatre would have with us. I’m relishing being able to share this been the sight of people onstage – alongside inclusive journey with more and more people the kings and and gods and heroes throughout the summer. – who looked and dressed just like the ELLAN PARRY, DESIGNER people in the audience. This was something I’ve always felt that designing costumes that seemed especially important for us for actors I don’t know is a bit like trying to to embrace here in this space where the buy birthday presents for strangers, so I relationship between actor and spectator is so generally try to keep the design process as intimate and immediate. Raiding the Globe’s collaborative and as dialogic as I can, even extensive store, a number of posh and not so in a more standardised process, and I love it posh charity shops, and even our actors’ own when actors are interested in engaging with wardrobes, has allowed us to create a visual the design world. My heart sinks a little when world which I hope feels perhaps more owned an actor says ‘I don’t care what you put me in’. and inhabited than designed, a world haunted What we choose – or don’t choose – to wear by memories of past productions (Jack and own and carry with us can say so much dressed in the doublet worn by his Rosalind about who we are, where we’ve come from, when he played Orlando in 2009) and of loved and who we want to be – some of the most ones (Shubham’s mother’s dress re-made in fundamental questions that theatre asks of white). And of course, a few specially made us. To be invited into a process where all these treats, to join the costumes hanging in the decisions are made during rehearsals has store, and haunt the next ensemble. been truly inspirational. The main challenge

16 SIÂN WILLIAMS, CHOREOGRAPHER hierarchy and dependency. When we were One of the benefits of working as an ensemble creating fights, it has been a joy to converse, is the collective invention. We want to create explore, listen and offer as well as support and a deer for a scene in As You Like It. Ellan, our choreograph. designer, provides us with interesting and Being a part of the Globe Ensemble process unexpected materials. James, our composer, has given me insights into these plays which improvises on keyboard and percussion and I’ve never expected and has shed light on we pitch in ideas for the physical events in that scenes with violent or intimate content. scene. The actors give it a go and we see the To be in the room when a sudden realisation potential and poignancy of a ‘puppet deer’. Katy, happens or a creative thought pops into our props maker, attends a second session and someone’s mind, meant everything to me. helps refine the design. This kind of collaboration allows the ensemble to share an understanding The sense of human rawness, truth and of the source of an idea. Sometimes it is chaotic readiness is at the heart of Shakespeare and but it is always worth the effort. to be able to share that in the open rehearsals is wonderful. I do hope other theatres will The Globe relies on truly responsive follow this and open their doors to current performances in order for the story to and future theatre practitioners and students. reverberate around . A fundamental sense of human engagement is at the core of HELEN SCHLESINGER, ACTOR what we want to achieve with each other We have played a lot of games: games that and every single audience member. connect us as players and connect us to the plays – and to the audience: the whole room NADIA NADARAJAH, ACTOR is involved. For example, while rehearsing the During the first week of rehearsals, the exercises closet scene, people watching would call out were a real eye-opener to me. Some of the a word that Hamlet or Gertrude used, and exercises focused solely on iambic pentameter, Michelle or I would substitute a new word in which was a huge challenge for me as a Deaf the line – our own word – then go back to the person who uses BSL (British Sign Language). text. I watched a game played between the I couldn’t participate, but it did make me gravedigger and Hamlet; when they had a consider how, or if, there might be a possible question in the text, they asked each other a real BSL equivalent. BSL is an entirely different question, either as the character or the actors. language from English. It has its own syntax and The games have helped relationships come grammar. The translation process happened alive, deepen, become more specific, whether in small groups – usually with me, another with the text or with each other – and helped character, the director, and two interpreters. strengthen our relationship with the audience. The interpreters were there to interpret There is less control, less finessing, less fixing of conversations between BSL and English. choices, perhaps less ‘interpretation’. But I think The translation process was extremely the aim is for the play to come alive between the challenging because Shakespearean language actors and the audience. cannot be translated literally. We had to discuss I played Hamlet on tour in my twenties. I used the meaning and intent of each line before we to feel like an imposter at the beginning of could decide on a sign equivalent. In an ideal the play, a female invader of a male icon. Now word, we would have had a consultant there I wonder whether that’s not part of what it’s who was an expert in Shakespeare and BSL to like to be Hamlet after the coronation of his support this process. However, as a team, we uncle – dispossessed, unwanted; an intruder. managed to find our language Now I’m his mother. I wish Gertrude was a YARIT DOR, FIGHT DIRECTOR better mother, but then I think Gertrude would An ensemble process is essential at the like to be a better mother. With age comes a Globe because the space invites a sense of tempered sense of reality and the possibilities playfulness, impulsiveness and generosity. of life. The perspectives of the characters are The interaction, dialogue and energy between so singular, so delineated – I really hope we will the audience, the performers and the space be in a dialogue with the audience about them, are magical – more so than any other theatre just as we are onstage between ourselves. space in London. The ensemble work fosters this sense of playfulness and responsiveness by removing the regimented creative Drawings by Ellan20 Parry, Designer 19 FEDERAY HOLMES, DIRECTOR was that in Hamlet the writer seems The question ‘what did the first company do?’ frequently not to bother shifting the action is always in my head. Though in rehearsal it to the next setting. There are long stretches was never asked out loud, we were always in where quite remarkably different events conversation with the parents of these plays. occur apparently in the same place. When it Not just the writer, but the entire company would be logical to have characters leave one he worked with – we are saying the same setting, and enter later in a new location, the MICHELLE TERRY, ACTOR words, we are using the same building and, action continues. It is almost as though he We’ve very much been led by the text when it came to making as theatre-makers we presumably have the expects us to scroll our imagined background decisions about the settings for the plays. We looked at what the same instincts, egos, worries and need for along, while the characters stay put. On the plays tell us about place, time, relationships, status, etc.. And often a good laugh as they did. The difference is other hand, As You Like It is littered with short we have found ourselves asking what they would have done in the the weight of expectation. When Burbage shards of partial scenes that overlap each original process. first played Hamlet there were no famous other. There are many exits and entrances. oil-paintings, films or historically-significant There is a consistent habit of an onstage Our go-to question really has been: how would they have done productions at his shoulder. No-one was character announcing a new character’s it? That is the extraordinary gift of rehearsing these plays for the selling souvenir skulls. The title of the play entrance: ‘…yonder he comes’, ‘…but who architectural playing conditions for which they were written. A lot of was the name of the protagonist’s father. is this?’, ‘Here comes…’ almost as though the conventional questions about design, etc. are answered for us. the actors conjure each other from the tiring It is a huge leap of imagination to take the Thinking about costume or clothing, I love the idea of embracing the house. This barely happens in Hamlet. original process idea that each actor would have worn something of ‘as though’ out of ‘approaching the play as their own and the rest comes from what was available in their trunk or though for the first time’, but that was the There was no need to draw out the differences store. The Globe has a store of 21 years’ worth of amazing costumes, simple imperative for us. between the two plays; they are as different as siblings. Instead we noticed the quiet echoes so it has been so exciting recycling and up-cycling some of those. The word ’nothing’ appears more often in between them, or when lines from either play Hamlet than in any other Shakespeare play. All being in the room together all of the time helps with building a sense would insist on being spoken in the other. We And our brief was to start rehearsals with of ensemble, as does the eleven to five working day. It’s a really intense rehearsed them alternate weeks, more or less, nothing. Most rehearsals will have been amount of time in which we train together and get to know each other sprinkling songs and set-pieces from each preceded by months of decision-making; through doing the work and the exercises around the text. And the play through the rehearsal week of its pair. It most aesthetic elements will be in place occasional game of four square helps. will be strange to return to working on one before the cast meet. But we started with play at a time and not have the contrast of a When we rehearsed, there was an even split between the two plays. nothing. Not a thing. Just the words, a second play to upend the room and demand My roles across Hamlet and As You Like It do not relate to each other theatre with no roof or curtain, and us. in any obvious way but there is something of the clown and the fool a change of gears. Working on two plays in Hamlet and William. We don’t know much about how these plays simultaneously has been a strangely levelling were originally rehearsed but we know it was experience, perhaps humbling, as though we The open rehearsal room is something that continues to be a very fast and glib by our standards. We know that are constantly reminded that no play can be vulnerable place to be and I realise how much I have relied on hiding their writers wrote for a space, an audience, the be-all, just as no actor can take charge of a away from everyone in rehearsals – but the Globe theatre is such a actors and a city they knew very well. And we role for all time, and no performance can ever public space that it feels important that we exercise that muscle as know this particular writer was also at the cliff- be definitive. quickly as we can. The open door policy feels essential. face: on the stage, facing the audience and A good play is a plastic thing – it will settle over depending on Box Office. We know props and Working as part of the ensemble has affirmed my belief that there are its company and its time and form itself to set were minimal, actors generally owned their as many interpretations of these plays as there are people to perform their shape. But I have learned that you have own costumes and all actors had an arsenal of them and people to watch and hear them. The ensemble approach to listen, and you have to have the courage to sword skills, dancing and singing talents and is important in a theatre like the Globe, since it again goes back to create the space and time to listen, not rush their unique qualities as performers. We know the model of the original company. The egalitarian stake or share to polish or fix the play. I hesitate to admit from this Globe, that the audience is restless holder position of some of those original players meant that there it, but I feel desperately exposed letting the and demanding, it is their kingdom. You’ve got was a vested interest and ownership from everyone about the work. play do the work. For some reason it feels the story and your wits and a willing audience It mattered to everyone that it was a success. This idea of shared counter-intuitive. Yet, again and again I saw and that’s about it. ownership and collective responsibility makes total sense with these the difficulties we had in rehearsals were plays. Everyone, from every creative discipline, has contributed to I find that quite comforting. Many times, when difficulties we made. We humans are all creating these worlds. It speaks so perfectly to the democracy of the I wondered how we could achieve this or that, inclined to make heavy weather of a task and plays and the communal nature of the theatre as well. Along with the I was reminded that there had to be a simple especially when we are watched… but every audience, we are all figuring it out together. solution because the play was written for time we struggled, the play stood quietly by these conditions. The answer is never far. until we noticed and consulted it again. And it is true that there is nothing either good or bad It happens that I know both these plays very but thinking makes it so. well. But not as well as I thought. Among many, many things I learned as we rehearsed, Ensemble contributions collated by Nina Romancikova, Research Administrator at Shakespeare’s Globe. 20 21 GILES BLOCK Globe Associate – Text (Commedia & Masks), John Wright and The Laban Guild. She is a certified stage combat Giles has led the text work at Shakespeare’s teacher with The British Academy of Stage & Globe since 1999, and to date has been Screen Combat, an Associate Tutor of RADA, involved in over 90 productions. Directing associate artist of The Director’s Cut Theatre work for Shakespeare’s Globe includes: Company and a co-founder of Theatrical , Hamlet and Troilus and Intimacy. Previous work with Shakespeare’s Cressida. Posts include: Associate Director Globe includes: at Ipswich Theatre (1974 – 77), Staff Director (Playing Shakespeare with Deutsche Bank). at The National Theatre (1977 – 81) and Other theatre work includes: Director of Platforms at The National Theatre (Arrows & Traps Theatre Company); One Man (1981 – 84). Other theatre direction includes: Two Guvnors (Trinity Theatre); Romeo & Juliet The Fawn, She Stoops to Conquer (National (Shakespeare in the Squares); Assata Taught Theatre); , , King Me (The Gate); Macbeth (ImmerCity Theatre); Lear, Richard III, Hamlet, and Vincent in The Iphigenia Quartet (The Gate); Disgraced Brixton (Shochiku Company, Japan). In 2000 (English Theatre Frankfurt); Dark Tourism (Park the Association of Major Theatres of Japan Theatre) and Macbeth (RIFT Theatre). Dance recognised Giles for services to the Japanese includes: dancer-dramaturge for Hagit Yakira Theatre. In recent years, Giles has directed The Dance Company 2007 – 2010. Forthcoming Tempest, Henry V and at work includes: movement and fight direction BIOGRAPHIES The in . Giles is the for As You Like It (Shakespeare in the Squares). author of Speaking the Speech – An Actor’s Guide to Shakespeare. In 2011, Giles, together LOUISE ANNA DUGGAN with Glynn MacDonald, was given the Sam Percussion Wanamaker Award for services to the Globe. Louise studied at the Guildhall where she CATRIN AARON Horatio ADAM CRIGHTON Bass Trombone received the Lady Mayoress Prize for overall excellence, and went on to become a fellow. Catrin trained at the Royal Welsh College of Music and Drama. Theatre includes: Adam was born and raised in Aberdeen, and Previous musical director work with The Wizard of Oz ( Crucible);Henry V (Regent’s Park Open Air Theatre); learnt music through the city’s music service. He Shakespeare’s Globe includes: The Inn at Sex and the Three Day Week ( Playhouse); Contractions – nominated Best spent three years at St. Mary’s Music School in Lydda, (Playing Actress, Theatre Awards (Chapter, ); The Forsythe Sisters (Gaggle studying with John Kenny, before Shakespeare with Deutsche Bank) and Boudica. Babble); The Norman Conquests (Torch Theatre); , , moving to London to study at the Guildhall Theatre work as musical director and deputy The Norman Conquests (Haymarket Basingstoke); The Rise and Fall of Little Voice, School of Music & Drama with Dave Stewart. In musical director includes: Running Wild (UK Cat on a Hot Tin Roof, , The Light of Heart, Aristocrats, Salt, Root & Roe, 2017 he took part in the six-month UK tour of Tour & Regent’s Park Open Air Theatre) and , A Doll’s House, Roots, Gaslight, , A Small Family Wonderland the Musical, and later in the year did Everyman (National Theatre). Theatre work Business, Festen, Mary Stuart, Macbeth, A Toy Epic, Of Mice and Men, The Grapes of a run of at the , as percussionist includes: Everyman, From Wrath, Hobson’s Choice, One Flew Over the Cuckoo’s Nest and Silas Marner (Theatr where he made his on-stage debut – playing the Morning to Midnight, She Stoops to Conquer, Clwyd, where Catrin is an Associate Artist). Film includes: Apostle. Television sousaphone! Adam has a wide variety of musical Emperor and Galilean, Grief (National Theatre); includes: The Bastard Executioner, The Indian Doctor and Casualty. interests, having toured with and recorded a and As You Like It (RSC). Lassus mass in Toronto on the bass sackbut, Compositions for theatre include: An Incident Trombone HILARY BELSEY participated in the inaugural San Marino at the Border (Trafalgar Studios / Finborough Hilary studied at The Guildhall School of Music and Drama, where she won the contemporary music summer school, and Theatre); co-composition on Running Wild with Armourers and Brasiers’ Brass Prize in her final year. Hilary has a broad and varied performed with the likes of the London Jazz Nick Powell (Regent’s Park / Chichester Festival career as a freelance musician, performing across all genres from renaissance bands Orchestra and the European Union Youth UK Tour 2017) and Henry IV for RSC Education. and period orchestras through to West End shows and session work. As a sackbut Orchestra. A keen chamber music player, Adam Louise plays percussion, dulcimer and sings player Hilary has performed with many period ensembles, including The English was a founding member of both the Carnyx backing vocals for the Danish pop artist Agnes Cornett and Sackbut Ensemble, The City Musick, The Thomas Tallis Society and Youth Brass Ensemble and Aeris Brass, for whom Obel, and toured her new album Citizen of Glass with some of the finest instrumentalists and conductors in the world. Hilary regularly he has written many arrangements. In his spare in 2017, performing in 34 European cities. She plays with the Orchestra of the Age of Enlightenment, having worked with some time Adam enjoys books, whisky, and travelling. is also the percussion and dulcimer player for leading conductors including Marin Alsop, Sir Simon Rattle, Adam Fischer and Sir renowned early music ensemble Joglaresa led Mark Elder. She will be performing again with the orchestra in a production of Saul at YARIT DOR Fight Director by Belinda Sykes. Credited solo improvisations Glyndebourne this summer. Hilary has been lucky enough to perform in all major UK Yarit trained at Trinity Laban Conservatoire, for film include: Macbeth, starring Michael concert venues, most notably at the Proms and has performed live several times on Rose Bruford College (MA) and LISPA (two- Fassbender, Assassin’s Creed and the Oscar- BBCRadio3’s In Tune programme. As a trombonist, Hilary is a session musician and year Advanced Jacques Lecoq devising nominated Jordanian filmTheeb in conjunction a regular deputy in the West End. Theatre work is her passion and she has been practice), with additional training with Philippe with the London Contemporary Orchestra. performing at Shakespeare’s Globe Theatre since 2010. She has performed in Henry Gaulier (Le Jeu & Clown), Fabio Mangolini Louise teaches percussion at Harrow School. IV Part I and II, Henry V, Richard II (deputy) Richard III and The Taming of the Shrew. 22 23 STEPHANIE DYER Trombone FEDERAY HOLMES Director Stephanie is a leading trombonist and historical Federay has for many years been an Associate specialist. Born and raised in Cardiff, Stephanie of experimental London theatre company, went on to read music at King’s College, The Factory, for whom she also writes and and subsequently completed a performs. She has directed numerous master’s degree in period performance at the Shakespeare productions also for the Dutch Royal Academy of Music, where she was also Factory in Amsterdam. She also works with Regent Fellow (2015 – 16). In 2016 Stephanie the Baroque Collective Solomon’s Knot, became a member of world-renowned, historic guiding their unique approach to music brass ensemble His Majestys Sagbutts & performance and in 2017 directed The Cornetts. Alongside her work with HMSC, Comedy of Errors at RADA. An actor for Stephanie enjoys combining studies at Schola over 25 years, she has worked extensively Cantorum Basiliensis’ ‘School of Excellence’ in theatres around the UK as well as many (2016 – 18) with a busy international career. London theatres. She has made many Since 2017 Stephanie has been sackbut tutor television appearances and performed in for the International Early Music Summer many radio dramas for the BBC. She has School in Poland, alongside singer Jakub variously taught acting and theatre practice Nadia Nadarajah. Photo Helena Miscioscia Burzyński (La Tempesta) and pioneering British to undergraduate students at RADA, Royal cornettist Jeremy West. Highlights this year Central School of Music and Drama, Rose Catrin Aaron include performances with New Belgrade Bruford and Rutgers University at Shakespeare’s Opera (Bulgaria), Il Giardino Armonico (Italy), Globe. Federay directed the Globe’s Sonnet L’Orchestre MdL (Switzerland) and Sir John Walks annually from 2015 to 2017 and last Eliot Gardiner’s English Baroque Soloists (UK). year also directed Shakespeare in the Abbey at Abbey for the Globe. In September JAMES GARNON Claudius she will direct the Globe’s Sonnet Sunday. James trained at RADA. Previous work for Shakespeare’s Globe includes: Pericles, The COLIN HURLEY Winter’s Tale, As You Like It, ‘Tis Pity She’s a Ghost / Gravedigger / Player Whore, Dr Scroggy’s War, , Colin trained at Central School of Speech and The Tempest, Gabriel, Richard III, , Drama. Previous work for Shakespeare’s All’s Well That Ends Well, Macbeth, A New World: Globe includes: and the King, Twelfth The Life of Thomas Paine, The Storm, Romeo and Night and Richard III. Film includes: Black Pond Juliet, and Dido Queen of Carthage. and The Darkest Universe. Television includes: Other theatre includes: Queen Anne (RSC / , The Chief, Peak Practice, EastEnders ); Richard III (Almeida); and Flowers. Much Ado About Nothing (Old Vic);

(West Yorkshire Playhouse); The Merchant of VERITY JOHNSON Shubham Saraf Jack Laskey Venice, The Taming of the Shrew, The Tragedy of Assistant to the Designer Thomas Hobbes, Here Lies Mary Spindler, The Verity trained at Wimbledon College of . Tempest, The Winter’s Tale, Pericles (RSC); Hamlet Theatre as Assistant Designer includes: (Factory); A Midsummer Night’s Dream (Royal Rotterdam (The ); German Festival Hall / Middle Temple Hall / US); The Skerries (); Treasure Barber of Seville (); One Flew Over () and Microcosm ( The Cuckoo’s Nest (UK Tour); The Blue Room, Theatre). Theatre as Lead Designer includes: A Midsummer Night’s Dream and Les Liaisons Hilda and Virginia ( Theatre); Dangereuses (York Theatre Royal). Film and Testament (Vault Festival); The House of Television includes: Les Misérables, Genius: Usher () and Picasso, Testament of Youth, The Real American, (Maltings Arts Theatre). Anonymous, Foyle’s War, Hereafter, Micro Men, The Lost Honour of Christopher Jeffries, Without Motive and The Brussels. Radio includes: A Midsummer Night’s Dream and The Tempest.

Bettrys Jones, Michelle Terry and Yarit Dor

24 25 BETTRYS JONES Laertes / Player Previous work for Shakespeare’s Globe includes: The Little Matchgirl and Other Happier Tales. Other theatre includes: Life of Galileo (); The Tin Drum (Kneehigh); We Want You to Watch, Edward II (National Theatre); Warhorse (National Theatre / New London Theatre); (Regent’s Park Open Air Theatre); The Mouse and His Child, A Midsummer Night’s Dream, The Comedy of Errors (RSC); Praxis makes Perfect, The Dark Philosophers (National Theatre Wales); Manchester Lines (Library Theatre); And the Horse You Rode in On (); Measure for Michelle Terry, Yarit Dor and Bettrys Jones Tanika Yearwood Measure, Cariad (Theatre Clwyd); The Snow Queen (Rose Theatre, Kingston); 66 Books (); To Kill a Mockingbird (West Yorkshire Playhouse / Birmingham Rep); The Little Years (The Orange Tree); Wait Until Dark () and Party Time / One for the Road (BAC). Film includes: Private Peaceful and Little Bird. Television includes: Doctors and Skins.

RICHARD KATZ Polonius / Priest Previous work for Shakespeare’s Globe includes: , Richard II, A Midsummer’s Night’s Dream and The Golden Ass. Other theatre includes: The Divide, The Lorax (Old Vic); The Encounter, Master and Margarita, , The Noise of Time, Mnemonic (Complicité ); As You Like It, The Comedy of Errors, , The Drunks, The Winter’s Tale, Pericles, Silence (RSC); War Horse, The Skriker, The Wind in the Willows (National Theatre); 1984 (Headlong / West End); The Hanging Man, Cinderella (Improbable); Spyski (Peepolykus); Way to Heaven (Royal Court) and Señora Carrar’s Rifles (Young Vic). Film includes: Dance of a Killer, The Infiltrator, Guardians of the Galaxy, Sixty Six and Enigma. Television includes: A Discovery of Witches, , Crossing Lines, Ambassadors, The Honourable Woman, Poirot, Privates, MI High, Thank God You’re Here, The Omid Djalili Show, The Hogfather, Greenwing, Hustle, Hyperdrive, Absolute Power, Rome, Black Books and Nicholas Nickleby. Radio includes, as writer and performer: I Lied to Make You Love Me, James Garnon and Shubham Saraf The Trespasser’s Guide to the Classics and Marley Was Dead.

JACK LASKEY Francisco / Player / Fortinbras Jack trained at RADA. Previous work for Shakespeare’s Globe includes: As You Like It, A New World – A Life of Thomas Paine, and Antony and Cleopatra. Other theatre includes: Sons Without Fathers (); ( Theatre); I am the Wind, Sweet Nothings (Young Vic/ European Tour); The Tragedy of Thomas Hobbes, , The Taming of the Shrew (RSC); Hamlet (Old Vic) and The Masque of the Death (Punchdrunk). Film includes: The Aftermath, Star Wars: The Force Awakens, A Royal Night Out, Secret Sharer and Sherlock Holmes: A Game of Shadows. Television includes: Trust, X Company, Endeavour, Hatfields & McCoys and Spilt Milk.

Richard Katz Helen Schlesinger

26 27 GLYNN MACDONALD , Lady Windermere’s Globe Associate – Movement Fan (Vaudeville); The Lorax (Royal Alexandra, Toronto & Old Vic); The Merchant of Venice Glynn trained in the Alexander Technique in (Lincoln Centre New York); The Tin Drum 1972. She is past Chairman of The Society of (Kneehigh Tour), The Country Girls, King Lear, Teachers of the Alexander Technique (STAT). The Norman Conquests, First Light, Another She has worked in the Actors Centre and the Country (Chichester); Cover my Tracks Field Day Theatre Company in Ireland, Dramaten (); Nice Fish (The ); in Stockholm, Norskspillersforbund in Norway, Love’s Labour’s Lost, Much Ado About Nothing Holback Engstheatre in Denmark, Bremen (The Haymarket); The Lorax (The Old Vic); Opera Company in Germany and in Poland, Wendy and Peter (RSC); Accrington Pals Switzerland, Japan, Australia and the USA. (Royal Exchange, Manchester); The Madness Since 1997 she has been resident Director of of George III (); Movement at Shakespeare’s Globe on all theatre (National Tour); (Garrick Federay Holmes productions and has been a core member of Theatre); Enjoy (); Hobson’s the Globe Education Faculty in their Acting Choice, Sisters and Alice (Crucible Theatre, and Training programmes. In the Globe to Sheffield); The Lord of the Rings () Globe Festival 2012, she worked with the and Riflemind (Trafalgar Studios). 37 international companies who brought productions of Shakespeare’s plays in their JAMES MALONEY Composer own language to the Globe stage. In 2002 she Pearce Quigley directed Transforming September 11th at the James is a composer, producer and pianist Linbury Studio, for Peace based in London. James is Music Associate Direct. She shared the Sam Wanamaker Award at Shakespeare’s Globe, where he has been with Giles Block in 2011 for services to the involved in many productions, including Much Globe. She also works on the Jette Parker Ado About Nothing, for which he composed Young Artists Programme at the music in 2017. He released his debut House, . In 2012 she was solo album, Gaslight, with Canada’s Moderna awarded the François Florent Prize in Paris. Records in summer 2017, and is due to release Glynn is a Faculty Member for ‘Arts and his second with the same label next year. He Passion-Driven Learning’ at Harvard University. is originally from Birmingham, and studied music at University, where he MARTIN MCKELLAN graduated in 2011. Globe Associate – Voice NADIA NADARAJAH Previous work for Shakespeare’s Globe Guildenstern includes: The White Devil, All the Angels, Nadia trained at the International Visual Theatre The Little Match Girl, Imogen, Macbeth, Shubham Saraf and Michelle Terry Elle While A Midsummer Night’s Dream, The Tempest, in Paris. Previous work for Shakespeare’s The Winter’s Tale, Pericles, Nell Gwynn, Globe includes: A Midsummer Night’s Dream The Oresteia, The Heresy of Love, Omeros, and Love’s Labour’s Lost. Other theatre Measure for Measure, As You Like It, The includes: The Unheard World (Arlington Artist Merchant of Venice, , The Knight Centre); Our Town, The House of Bernarda Alba of the Burning Pestle, ’Tis Pity She’s a Whore, (Royal Exchange Manchester); Untouchable Doctor Scroggy’s War, The Comedy of Errors, (RADA Festival); Silent Shakespeare (Old Vic); Holy Warriors, Julius Caesar, King Lear, Antony Can I Start Again Please (UK Tour); Notre Dame and Cleopatra, , Hamlet, (National Theatre); Grounded (Deafinitely Much Ado About Nothing, The Duchess of Malfi, Theatre at ); People of the Eye (The The Lightning Child, Blue Stockings, Gabriel, Deaf and Hearing Ensemble); Windibops (UK Henry VI Parts 1, 2 & 3, The Taming of the Tour); Tyrannosaurus Drip (); Shrew, Macbeth, A Midsummer Night’s Dream, Tanika’s Journey, Invisible (Deafinitely Theatre); King Lear, The Taming of the Shrew, Henry V, Girls and Dolls ( Playhouse); Deafhood Globe to Globe, The God of Soho, As You Like It (Bristol Old Vic); I Believe in Unicorn and We’re (tour), Hamlet, Doctor Faustus and Anne Going on a Bear Hunt (). Boleyn. Recent theatre includes: Farinelli and Film includes: and All Day. Television includes: Dorothy Miles, The the King ( New York, Duke of Bettrys Jones James Garnon and Colin Hurley York’s London); Fanny and Alexander (The Old Hub, Snapshot: Dicing with Sex and . Photos by Tristram Kenton Vic); Frozen (Theatre Royal Haymarket); 28 29 ELLAN PARRY Designer Murders, Lewis, EastEnders, Merlin, The Hour, Nativity, Criminal Justice, Trial and Retribution, Ellan trained at Wimbledon and Motley, and is Sensitive Skin, The Playground, The Way We currently pursuing a PhD at the University of Live Now, Bad Girls and The Cormorant. Brighton. They are a previous winner of the ELLE WHILE Director Jocelyn Herbert Award and a Linbury Prize CHRISTINE SCHMIDLE Elle received an MFA in Theatre Directing from Birkbeck College and a BA in Drama finalist.Current work includes: Effigies of Deputy Text Associate from the University of Manchester. She is an Associate Director of Elliott & Harper Wickedness (Gate, in association with English Christine studied Shakespeare and Performance Productions. Directing includes: 2017/2018 UK and International tour of The Curious National Opera). Recent theatre includes: the Incident of the Dog in the Night-Time and the West End production 2015 – 2017 Olivier Award-winning Rotterdam (Trafalgar at Mary Baldwin University, Staunton, Virginia. There she acted on and directed for the (Gielgud); What The Moon Saw (2Faced Dance); Blindsided (Royal Welsh College of Studios and the Arts Theatre, West End, and Music & Drama); Wretch (Into The Wolf Theatre – tour of London homeless shelters); 59E59 Theaters, New York); The Magna Carta Blackfriars stage, the recreation of Shakespeare’s indoor theatre. At the Blackfriars Playhouse, Glory Dazed ( / Adelaide Festival / Underbelly, Edinburgh – Winner of Plays (Salisbury Playhouse); (Exeter Holden St. Theatre award and Critics’ Choice award); Country Music (West Yorkshire Northcott); Posh ( Playhouse, she acted in various plays for the American Shakespeare Centre. Her German production Playhouse); Twelve Days of Christmas (TPT UK Tour); Frisky and Manish: Just Too Much Salisbury Playhouse) and The Miser (Watermill (Underbelly, London and Edinburgh); Knock Knock (); That Face (Bristol Theatre). Recent opera includes: Belongings of Der Bestrafte Brudermord, a German renaissance play based on Shakespeare’s Old Vic Theatre School) and recording director for the Old Vic’s production of Cause (Glyndebourne Youth Opera); La Liberazione di Célèbre on Radio 4. Ruggiero (Brighton Early Music Festival); El Hamlet brought by English actors to the continent, followed up her master’s thesis Niño (Spoleto Festival, Charleston S.C.); Neige SIÂN WILLIAMS Choreographer (Grand Theatre de Ville, Luxembourg); Noye’s on the German-English theatre relations of Fludde (Southbank Centre) and The Fairy Shakespeare’s time. She worked at the Siân founded The Kosh dance theatre company with Michael Merwitzer. Previous work Queen (Brighton Theatre Royal). in Neuss, Germany, with Shakespeare’s Globe includes: The Knight of the Burning Pestle, The Changeling, and as assistant director in Krefeld, Germany, Romeo & Juliet (Tour), Globe to Globe Hamlet, As You Like It, Measure for Measure, The Heresy of Love, Pericles, The Tempest, Twelfth Night, Richard III (Belasco Theatre, New PEARCE QUIGLEY Rosencrantz while translating Der Bestrafte Brudermord for a puppet theatre production of The Hidden York for Sonia Friedman Productions / Shakespeare’s Globe); The Taming of the Shrew Pearce trained at the Manchester Polytechnic Room, which has since been performed in the (Playing Shakespeare with Deutsche Bank). Other choreography includes: Labour of School of Theatre. Previous work for . Recently she Love (Headlong / Co); Secret Garden, , As You Like It Shakespeare’s Globe includes: The Changeling, co-founded the Flagstaff Shakespeare Festival (Theatre by the Lake); Room (Theatre Royal Stratford East); Powerplay (Hampton A Midsummer Night’s Dream, The Taming of the in Flagstaff, Arizona, where she has directed Court); Dedication (Nuffield Theatre, Southampton);Pride and Prejudice (Regent’s Park Shrew and Doctor Faustus. Film includes: Romeo and Juliet and All’s Well That Ends Well. Open Air Theatre); The Night Watch (Royal Exchange Theatre); Singin’ in the Rain Peterloo. Television includes: Detectorists. She has worked alongside Giles Block on over (Octagon Theatre / Salisbury Playhouse / New Vic Theatre); (Assoc. Movt. 20 plays at Shakespeare’s Globe. Dir.), A Midsummer Night’s Dream: Play for the Nation, , , The SHUBHAM SARAF Ophelia / Osric Mouse and His Child (RSC); I Am Thomas (Told By An Idiot / Scottish National Theatre); Shubham trained at Guildhall School of Music MICHELLE TERRY Hamlet Kate Bush’s concerts ‘Before the Dawn’ (); Wolf Hall Parts 1 & 2 and Drama. Previous work for Shakespeare’s Michelle trained at RADA. She is the Artistic (Winter Gardens Theatre, New York for RSC / Playful Productions); Wolf Hall (BBC2 TV); Globe includes: Lions and Tigers. Film includes: Director of Shakespeare’s Globe. Previous Ben Hur (Tricycle Theatre / Fiery Angel); My People (Theatre Clwyd / Invertigo Theatre Overlord, The Cut and Honour. Television work for Shakespeare’s Globe includes: As Company); The Merry Wives of Windsor (Grosvenor Park Open Air Theatre); Eternal includes: Bodyguard and Fresh Meat. You Like It, A Midsummer Night’s Dream and Love, Anne Boleyn (); Oh! What a Lovely War (Northern Stage); Love’s Labour’s Lost. Other theatre includes: Cafe Chaos, The Storeroom (The Kosh). HELEN SCHLESINGER Gertrude Love’s Labour’s Lost, Much Ado About Nothing, Theatre includes: Albion (); The Winter’s Tale, Pericles, The Crucible (RSC); ADRIAN WOODWARD Musical Director / Trumpet Boys Will Be Boys (Bush); Frozen (Park); Single Henry V (Regent’s Park Open Air Theatre); Adrian is a London-based multi-instrumentalist. He has played or recorded with all Spies (); Coriolanus Becoming (Writer & Performer); Privacy, The of the UK’s well established period instrument orchestras, but most regularly with (); Bracken Moor (Tricycle); Man Who Had All the Luck (The Donmar); the Gabrieli Consort and Players, The Orchestra of the Age of Enlightenment and Fireface (Young Vic); Blue / Orange (Arcola); Cleansed, 50 Years of The National Theatre, the King’s Consort. He plays with award-winning trumpet virtuoso Alison Balsom The Gods Weep, Comfort Me With Apples The Comedy of Errors, , All’s OBE. Previous work for Shakespeare’s Globe includes: All the Angels, Pericles, As (Hampstead); The Stone, Wild East, The Well That Ends Well, England People Very Nice You Like It, The Broken Heart, Titus Andronicus, Gabriel, Macbeth, Twelfth Night, Henry Weather, Bear Hug (Royal Court); Whipping It (National Theatre); Before the Party (Almeida); V, The Taming of the Shrew, All’s Well That Ends Well, Henry IV Parts 1 & 2, Henry VIII, Up (Bush / Ambassadors); The Crucible (RSC In the Republic of Happiness, Tribes (The Royal A New World, Romeo and Juliet, Richard II, The Golden Ass, King Lear, Hamlet, Julius Stratford / Gielgud Theatre); A Moon for the Court); Light Shining in Caesar, Antony and Cleopatra, A Mad World My Masters, The Merchant of Venice, Misbegotten, , King Lear (Royal (Arcola Theatre); Sudden Loss of Dignity The Winter’s Tale and Henry V. Exchange Manchester); The Oresteia, War and (Writer), War on Terror, Two Cigarettes and Peace, Inadmissible Evidence (National Theatre); 50 Ways to Leave Your Lover (Bush Theatre); TANIKA YEARWOOD Marcellus / Reynaldo / Player The Merchant of Venice, Twelfth Night (RSC) and Television includes: Marcella Series 2 (ITV) Tanika recently graduated from The Royal Central School of Speech and Drama. The Mill on the Floss (Shared Experience). Film and The Café Series 1 and 2 (Writer and Theatre includes: Tomorrow I’ll Be Twenty (Complicité Theatre); Liminal (Arcola) includes: Dirty War, Persuasion and 24 Hour Performer: SKY). and Cinderella (Lyric Theatre, Hammersmith). Party People. Television includes: Midsomer

30 31 Do You Mark That?

Thanks to the generosity of an anonymous patron, the ‘Munro’ First Folio of Shakespeare’s plays is now on display at the Globe. Each copy of this most treasured book tells its own story of a long association with generations of Emma Smith A ‘manicule’ points out a line of proverbial wisdom from Hamlet. readers and owners, as reveals. Photo Pete Le May Every copy of the book published in London at the end of 1623 as Mr William to the Munros, Baronets of Lindertis (the 4th If early readers were not too fastidious about Shakespeares Comedies, Histories, & Tragedies is unique. We tend to assume that the Baronet was also a keen mountaineer and this book, nor were they in awe of it. In this printing press produced identical copies, but in fact, early modern printing practices gave the family name to his list of Scottish copy there are a handful of corrections to meant that books of the period comprised different combinations of corrected mountains over 3000ft). mistakes in the printed plays. In As You Like It, and uncorrected sheets. Most books were sold unbound in order for purchasers for instance, where two speeches from the Seventeenth-century readers were encouraged to customise them to their own requirements. And standard accounts of reading loyal servant Adam run consecutively, one to ransack their books for useful quotations, in this period described it as an activity undertaken with a pen. Writing in books, reader has realised that something is missing, wisdom, or rhetorical flair. This activity, known sometimes engaging directly with their content but equally often simply using up and added, in neat brown ink, the speech as commonplacing, tended to prioritise blank paper, was standard. The book we now know as the First Folio is no exception, prefix ‘Orl’ for Orlando. A reader has noticed decontextualized verbal snippets over plot or and copies carry clues, from doodles to lost pages and from inscriptions to bindings, a missing word in ’s line in Othello which character, and many books from the period are that bear witness to the circumstances of their production and reception. reads ‘Yet if you please, to him off awhile’ and marked up with a sense of what early readers suggested that ‘keepe’ before ‘him’ would The Munro copy on display at Shakespeare’s Globe is a fine example of this book noticed. There are relatively few marks like this make better sense (modern editors here in an early nineteenth-century rebinding. Shakespeare’s high cultural status in the in the Munro folio, but someone has drawn a patch the text from the 1622 quarto edition, age of empire really transformed the First Folio into an iconic object. As Darwinism lovely pointing finger – known as a manicule which has the word ‘hold’ at this point, but chipped away at biblical authority, the Victorians invested another big old book – to highlight Ophelia’s proverbial phrase ‘rich the impulse to correct is the same one). A with meaning and value, substituting the First Folio as a kind of secular scripture. gifts wax poor, when givers prove unkind’, and mistaken duplication ‘to to’ in the Ghost’s At the same time, booksellers worked to repair and revive copies that often there are other brackets, dots and underlinings speech about Gertrude in Hamlet has been showed considerable signs of wear and tear. The Munro Folio shows some of this that identify lines of particular interest. As in crossed out. These scattered examples show work. It has replacement facsimile leaves – for the titlepage (although the portrait many other copies of this book, such readerly readers’ willingness to improve the text where itself is an original) and for ’s famous eulogy in which he predicts that attention is very localised. Almost no-one they see it to be lacking. Shakespeare is ‘not of an age but for all time’, and a couple of pages at the end seems to have worked systematically through of the final play in the volume, . It also has a beautifully executed ink the Folio’s hundred pages! When Shakespeare’s fellow actors in the facsimile repair to one of the margins of this play. The skill with which damaged King’s Men, and Henry For modern readers the First Folio has accrued paper has been replaced and the lines of type provided in perfect hand-inked Condell, gathered together the plays of a monumental status (and pricetag). Without characters is remarkable: only by holding the page up to the light can we see the their deceased colleague for publication, it, we would not have Shakespeare – because join. It’s a testimony to the value of the book in the period. they seem to have wanted to distance the we would have lost half of his unpublished publication from the theatre, perhaps to push Some booksellers were experts in this kind of repair – known in the trade as plays, including Twelfth Night, Macbeth and it upmarket. It’s a wonderful irony to have this ‘vampment’ – producing old books that were as good as new. In the process, of The Tempest, because we would not have book back in the playhouse world from which course, evidence of previous owners and marks of their use were often destroyed. a portrait of our author without the now- it originally drew its dynamic, lasting energy. But the Munro copy retains some details of its own biography. Firstly, there are a famous Droeshout engraving on the titlepage, number of names and initials written at different points in the book, attesting to and because there would have been no Emma Smith is Professor of Shakespeare Studies and owners and readers over a couple of centuries. One seventeenth-century hand material archive preserving and solidifying a Tutorial Fellow of Hertford College, Oxford. She has published widely on Shakespeare and his contemporaries, identifies ‘Ann Bruce’ written neatly in the gap around the titleThe Tempest – a his reputation for subsequent generations. including Shakespeare’s First Folio: Four Centuries of an surprising number of Shakespeare First Folios are marked by early women readers The book is thus important but also rather Iconic Book, , 2016. suggesting that it had a particular resonance for them (and one thing I’ve noticed distant: an icon rather than a familiar object, is that early readers are more likely to sign their name deep in the book’s pages more suited to the museum or even the bank The ‘Munro’ First Folio will be on display than on the title or preliminary pages). There are also numerous initials, some vault than the fireside or the theatre. Not so in in the Exhibition throughout the Globe with a curly pomposity that may suggest a young person practising a grown-up the past. The Munro Folio shows lots of signs Theatre season. signature. The inscription at the bottom of one of the history plays, ‘James Graham of convivial reading: some greasy stains that with his hand’ also looks as if it might represent an immature reader. We know that probably represent food, and some tiny burn the copy was owned by the Bruce family and sold in the early nineteenth century holes that are clues to pipe-smoking.

32 33 THIS WOODEN

Bankside, from a panorama of London by Wenceslaus Hollar, 1647. The second Globe, built after the first Globe burned ‘O’ down in 1613, appears to the left and is mistakenly labelled ‘Beere bayting’. Shakespeare’s Globe Library THE FIRST GLOBE REBUILDING THE GLOBE Nevertheless, the Globe itself was not a truly circular building. The archaeological During the first years of Queen Elizabeth’s reign, the English playing The project to rebuild Shakespeare’s Globe was excavation of Theatre in 1989 proved companies used inns, inn-yards, college halls and private houses for initiated by the American actor, director and what most scholars had long believed: that their performances. It was not until 1576 that the actor-manager producer Sam Wanamaker after his first visit the Elizabethan playhouses were polygonal built the Theatre in , the first purpose- to London in 1949. Twenty-one years later he buildings. In the same year, a small portion of built playhouse in London. Shakespeare joined the resident troupe founded what was to become the Shakespeare the Globe itself was excavated, from which two at the Theatre in the 1580s and the company (later known as the Globe Trust, dedicated to the reconstruction important inferences were drawn: that it was a Chamberlain’s and then the King’s Men) flourished there for 20 years. of the theatre and the creation of an education 20-sided building with a diameter of 100 feet. centre and permanent exhibition. After 23 years In 1596 a dispute arose over the renewal of the lease and negotiations spent tirelessly fundraising, promoting research Techniques used in the reconstruction of were begun to acquire a disused hall in the precincts of the old into the appearance of the original Globe and the theatre were painstakingly accurate. The Blackfriars priory to use as an indoor theatre. James Burbage died in planning the reconstruction with the Trust’s timber frame is made of ‘green’ oak, cut and February 1597; in April the lease expired, but the dispute continued architect Theo Crosby, Sam Wanamaker died, the jointed using 16th-century techniques; oak for two years, during which the company performed at the nearby site having been secured, the huge undercroft laths and staves support lime plaster mixed Curtain playhouse. In Christmas 1598 the company sought a drastic structurally completed and a few timber bays of according to a contemporary recipe and the solution: they leased a plot near the Rose, a rival theatre in Southwark, the theatre in place. Three-and-a-half years later walls are covered in a white lime wash. The demolished the Theatre and carried its timbers over the river. To cover – in 1997 – the Globe was completed. roof is made of water reed thatch, based on the cost of the new playhouse, James Burbage’s sons Cuthbert and samples found during the excavation. Richard offered some members of the company shares in the building. What did the first Globe look like? Nobody Shakespeare was one of four actors who bought a share in the Globe. knows for sure. Printed panoramas, such as The stage is the most conjectural aspect of By early 1599 the theatre was up and running and for 14 years it thrived, those by John Norden and Wenceslaus Hollar, the reconstruction. Its design was drawn from presenting many of Shakespeare’s greatest plays. give some idea of the theatre’s exterior; written evidence provided by existing buildings of accounts, usually by visitors from overseas, the period and practical advice offered by the In 1613, during a performance of Henry VIII, wadding from a stage building contracts and one sketch (of actors and directors who participated in the cannon ignited the thatched roof and the theatre burned to the Theatre) tell us something about the interior. 1995 ‘Workshop’ and 1996 ‘Prologue’ seasons. ground ‘all in less than two hours, the people having enough to do In addition, there are suggestive descriptions to save themselves’. The theatre was quickly rebuilt, according to The new Globe is also designed with the included in the plays themselves, such as the one contemporary, ‘in far fairer manner than before’, this time with a 21st century in mind. An additional exit, famous Chorus which begins Henry V: tiled roof. Shakespeare may have acted in the second Globe, but he illuminated signage, fire retardant materials probably never wrote for it. It remained the home for Shakespeare’s And shall this cockpit hold the vasty fields and some modern backstage machinery are all old company until the closure of all the theatres under England’s of France concessions to our times. The reconstruction is Puritan administration in 1642. No longer of use, it was demolished Or may we cram within this wooden ‘O’ as faithful to the original as modern scholarship to make room for tenements in 1644. the very casques and traditional craftsmanship can make it, but That did affright the air at Agincourt? for the time being this Globe is – and is likely to remain – neither more nor less than the ‘best 34 guess’ at Shakespeare’s theatre. Our education department has long been combining a library and research centre with one of the most prolific in the UK. We offer improved production facilities, rehearsal and a hugely diverse programme of schools education studios and a new Exhibition, to workshops, public events, university courses create a fully integrated campus on . and local and London-wide community More people engage with Shakespeare through projects. We also publish a range of award- our work than through that of any other winning digital materials and books and organisation. And yet we receive no annual conduct rigorous academic research into the government subsidy, but rely on the generosity historical conditions of Shakespeare’s theatre. Founded by the pioneering American actor and director Sam Wanamaker, of individuals, corporate partners, trusts, Shakespeare’s Globe celebrates Shakespeare’s transformative impact on the world Our vision continues to grow. In 2018 our focus foundations and other supporters to sustain by conducting a radical theatrical experiment. Inspired and informed by the unique is on the development of Project , and develop our artistic and educational work. historic playing conditions of two beautiful, iconic theatres, our diverse programme of work harnesses the power of performance, cultivates intellectual curiosity and excites learning to make Shakespeare accessible for all. In 2017 we celebrated twenty years of great artistic and educational achievement. We now welcome over 1.25 million visitors a year from the world to take part in workshops and lectures; to visit Shakespeare’s Globe Exhibition and tour our two theatres – and of course to watch plays which experiment in many different ways with the original playing conditions of Shakespeare’s theatre. Since the opening of the Sam Wanamaker Playhouse, we have been able to present works written specifically for an indoor theatre and to offer a year-round artistic programme. We have performed every play in the Shakespeare canon, many of them several times and in a thrilling variety of different styles. These productions enjoy an extended life online through the Globe Player (the first digital platform of its kind), on the big screen and on television. Shakespeare’s Globe is also a major venue for concerts and special events and we have produced many world premieres of new plays, a number of which have gone on to enjoy success in the West End, on Broadway and beyond. In recent years our long-standing reputation for international performance was consolidated by the Globe to Globe Festival, which in 2012 presented every Shakespeare play, each in a different language at the Globe, and by our world-wide tour of Hamlet, which after its astonishing two-year journey had visited almost every nation on earth. Our productions of Shakespeare now tour throughout the UK, Europe, the United States and Asia, while our educational work is extending overseas, notably through our forthcoming teaching centres in the USA and China.

THE GLOBE TODAY 37 Our Education department was founded in 1989 and runs workshops, courses and events for people of all ages at Shakespeare’s Globe as well as outreach projects in schools from to Beijing. Events for Individuals and Families Over 150 events for people ‘at any age and any stage’ are Schools and Teachers produced at Shakespeare’s Globe throughout the year. Lively Action workshops are offered year-round at Shakespeare’s Globe for over 80,000 students. They are led by Globe Education Half-term and summer storytelling and workshops for families Practitioners who also provide expert training for teachers to help include the annual Shakespeare’s Telling Tales festival in July. deliver the National Curriculum from Early Years through to A Level. Pre-show talks, study days and adult courses complement the seasons of plays in the Globe and the Sam Wanamaker Playhouse. In Southwark Read Not Dead performances with scripts are staged in the Sam Two Southwark Youth Theatres, a Southwark Elders Company and an Wanamaker Playhouse and revive forgotten gems written by annual Concert for Winter for 3 – 93-year-olds celebrate talent at play Shakespeare’s contemporaries. within our local community. Our Theatre, supported by the Jonathan Harris Foundation for Lifelong Higher Education & Research Learning, is an annual Shakespeare project for Southwark mainstream The Globe’s resident academics lead and publish original research. and SEN students and an adult theatre company, culminating with Over 1800 students participate in undergraduate and MA courses a production in the Sam Wanamaker Playhouse. The project is and conservatory acting programmes every year. Studios are also documented by BA Photography students from London South offered for professional actors, directors and musicians. Bank University The Rutgers Conservatory at Shakespeare’s Globe provides BFA Playing Shakespeare with Deutsche Bank students with a year of actor-training and is now in its 18th year. Over 18,000 free tickets are offered to all secondary schools in London The MA in Shakespeare Studies, offered in partnership with and Birmingham to a full-scale production specifically designed for 11 – King’s College London, is now in its 17th year. For details, visit 18-year-olds at the Globe in February and March. Free workshops and shakespearesglobe.com/ma award-winning online resources complement the production. Discover More Shakespeare’s Globe at UC Davis: at shakespearesglobe.com/education The Center for Teaching Shakespeare in the Classroom This dynamic partnership with the UC Davis School of Education is designed to bring the Globe’s education approaches to teachers in Californian elementary and high schools and to develop a body of research for national and international dissemination. Digital for All 10,000 teachers have already signed up to the Teach Shakespeare website. Lesson plans, exclusive videos and hundreds of resources support classroom teaching. Staging It offers students the chance to direct their own Shakespeare scene on the Globe stage. Children will find colourful, animated and interactive games on the Globe Playground site.

EDUCATION 38 SHAKESPEARE AND CENSORSHIP ACTOR: The Read Not Dead ground rules are simple. ‘And let us...on your Throughout the year Actors rehearse the play on a Sunday morning 50 years after the abolition of the Theatres Act in and present it, script-in-hand, to an audience September 1968, this bold series explores censorship later that afternoon. imaginary forces work’ from historical, national and international viewpoints. We ask: are there forces at work today that are as The performances are instinctive, adrenaline Henry V , Prologue repressive as the Lord Chamberlain? driven and inventive. Actors and audiences alike share in the excitement of reviving Themes explored include the history of censorship on the these forgotten plays that definitely deserve British stage, press censorship and freedom of speech (in to be Read Not Dead. collaboration with the Royal Commonwealth Society and NEW WRITING the London Press Club), the banning of Shakespeare in A new writing venue 400 years ago, the Globe continues to be a new schools, self-censorship in the arts, and theatre as an act writing venue today. This summer, we are thrilled to stage three new of rebellion. plays written for the unique playing conditions of the Globe Theatre. ‘The rest is silence.’ Nanjing Hamlet, Act V, scene 2 22 – 24 June Nanjing is a monologue about identity, dispossession, and the consequences of war. Written and performed by Jude Christian, READ NOT DEAD – CENSORED! this premiere tells the story of the Nanjing Massacre of 1937, frequently referred to as the Rape of Nanking. Our popular script-in-hand performance series revives plays whose arguments challenged authority and caused offence. Emilia 10 August – 1 September Sunday 13 May, 4.00pm, Sam Wanamaker Playhouse Morgan Lloyd Malcolm’s spectacular new play, Emilia, tells the story Eastward Ho! by Chapman, Jonson & Marston of Emilia Bassano, the possible inspiration for the various ‘Emilia’ Sunday 17 June, 4.00pm, Sam Wanamaker Playhouse characters who appear throughout Shakespeare’s plays, and one Sir by Munday, Chettle, Heywood, Dekker & Shakespeare of the most remarkable women in Early Modern England. Sunday 15 July, 4.00pm, Sam Wanamaker Playhouse Eyam Believe As You List by 15 September – 13 October Saturday 15 September, 2.00pm at Christ Church, Oxford The performances are instinctive, adrenaline Eyam is a new play written by Matt Hartley. In 1665, the plague reaches The Queen’s Arcadia by Samuel Daniel driven and inventive. Actors and audiences the Derbyshire village of Eyam, just as Reverend William Mompesson alike share in the excitement of reviving Sunday 30 September, 4.00pm, Sam Wanamaker Playhouse and his wife arrive to lead the parish. The villagers are faced with a these forgotten plays that definitely deserve The Wits by William Davenant to be Read Not Dead. moral conundrum: stay quarantined and risk almost certain death, or flee and risk spreading the deadly disease? Sunday 18 November, 4.00pm, venue tbc The Tragedy of Sir John van Olden Barnavelt by Fletcher & Massinger Sunday 2 December, 4.00pm, venue tbc A Game at by

SHAKESPEARE AND RESEARCH IN ACTION 12 – 18 August Workshops that give you a chance to be part of the Globe’s exploration A festival that aims to redress the racial imbalances that exist not only of early modern and contemporary performance culture with Globe in the industry of theatre but also in Shakespeare studies. actors and leading scholars. Events include performances, workshops, public lectures, panels and Monday 14 May, 6.00pm an international conference; participants include African-American Staging Milton’s Paradise Lost actor Keith Cobb performing his solo play American Moor, Dr Erika Lin (CUNY), Morgan Lloyd Malcolm (writer of Emilia), the Monday 11 June, 6.00pm Globe’s Head of Research Dr Farah Karim-Cooper, a panel of recent Commedia dell’arte on the English Stage of Othellos, and the Sam Wanamaker Fellowship Lecture delivered by Monday 9 July, 6.00pm Professor Kim F Hall. Games and Sport in Children’s Indoor Performance Complementing the Globe’s productions of Emilia and Othello, the Expect to be asked for your feedback. festival highlights the importance of race to the consideration of Shakespeare not only in his time, but more urgently, in our own. 40 41 GUIDED TOURS

Discover the extraordinary history and secrets of the Globe Theatre. Our guides will bring the space alive in a stimulating tour of the auditorium, with & EXHIBITION colourful stories of the 1599 and 1614 Globes, the reconstruction process in the 1990s and how the building works today as an imaginative and experimental theatre space. In the Exhibition, included with your tour ticket, you can imagine the Globe as it would have been: the centre of what was London’s most notorious entertainment district. Find out about 17th-century Bankside, the tricks of the Elizabethan stage – from blood to flying – and watch costume dressing, swordfighting and printing press demonstrations.* A guided tour is a fantastic way to experience the Globe for the first time or to delve deeper into the soul of the ‘wooden O’.

Prices £17.00 adults £13.50 students (16+ with valid ID) £15.50 seniors £10 children (aged 5 – 15 years, under-5s free) £46 family ticket (2 adults + up to 3 children) Get £2 off your ticket when you present a ticket for a performance in the 2018 theatre season. Opening times Exhibition 9.00am – 5.00pm *Demonstrations may not be available at all times. Tours run from 9.30am every day, but timings vary according to the production performance schedule. During matinee performances in the Globe Theatre the Exhibition remains open and alternative tours – of Bankside and the archaeological site of The Rose Playhouse nearby, or the Sam Wanamaker Playhouse – may be offered. Please check our website for a full schedule of tours. Opening times and tours may change at short notice.

Contact the Exhibition office:020 7902 1500, [email protected] Admission is free for Friends and Patrons of Shakespeare’s Globe. shakespearesglobe.com/exhibition

44 43 Swan, Shakespeare’s Globe serves modern Swan Bar British seasonal food across the site. All From morning breakfast to evening cocktails menus are created by our Executive Chef, and everything in between, our bar menu Allan Pickett features a wide selection of salads, quiches Swan Restaurant and cold meats, along with British classics, such as fish and chips, pie of the day and British locally-sourced produce is at the SHOP Scotch eggs, together with seasonal heart of our restaurant menu, which changes puddings. Sharing boards come both meaty with the seasons. Join us for à la carte lunch, and veggie and are a winner for large groups. dinner or Sunday roast on the second floor, Our drinks list includes a fine range of ales, with stunning views of the Thames and St interesting wines and seasonal cocktails. Paul’s. We also serve a seasonal three-course theatre menu before and after all theatre Please note, we are unable to take bookings performances. Alternatively, join us for our in the bar for groups of less than 10. A Midsummer Night’s Dream afternoon tea, Foyer Cafe Bar inspired by the play and served on specially commissioned crockery. If you have more of a Located in the main theatre foyer, the Foyer savoury tooth, try our Gentleman’s Afternoon Café Bar offers soups, sandwiches, salads, Tea made up of delicious tea-time treats. coffees, teas and homemade cakes, in addition to a range of alcoholic drinks. No visit to Shakespeare’s Globe is complete For more information or to make a booking, without a visit to the shop, which offers an please visit swanlondon.co.uk or excellent selection of gifts, books and other us on 020 7928 9444 or reservations@ merchandise related to the theatre season, as swanlondon.co.uk. well as DVDs of past Globe productions. Open FOOD & DRINK daily throughout the year, 10.00am – 6.00pm.

GLOBE

We are the first theatre in the world to create our own Video On Demand platform. You can orPLAYER buy over 60 of our previous productions online, on your desktop or mobile device, all in HD. The collection includes classics such as Twelfth Night starring and , Michelle Terry in A Midsummer Night’s Dream, and in The Duchess of Malfi, as well as hours of documentaries and interviews with actors such as Sir Ian McKellen, and Dame . 44 45 Friends & Patrons Project Prospero At the heart of Shakespeare’s Globe is its family of Friends & Patrons, individual donors, grant- At the close of the 2019 Summer Season, the Globe will see the beginning of a major new makers and corporate supporters. Over the past 30 years our supporters have helped realise capital development comprising the creation of a dedicated Library and Archive, a state-of- Sam Wanamaker’s dream to rebuild the theatre, and they have shared with us in celebrating the-art Production Centre, a world-class Exhibition and six additional Education and Rehearsal our productions, as well as our ambitious education and community projects. Shakespeare’s Studios. We are currently calling this 8000m2 scheme Project Prospero. The realisation of Globe is an educational charity dedicated to the experience and international understanding Project Prospero will allow us to display a Shakespeare First Folio alongside our two theatres of Shakespeare in performance. By giving to the Globe you are supporting a vibrant arts and in conjunction with a revitalised exhibition featuring original costumes, films from our and education centre. We receive no annual government subsidy, and so it is through your extensive archive and a host of other fascinating objects, creating endless opportunities for involvement and generous support that our projects can continue to evolve and grow. engagement, dialogue and debate. As a thank you for their support, our Friends enjoy priority booking at both theatres and free We need to raise £30million to realise our vision and transform the Globe site. We are asking unlimited entry to the Exhibition and Tour. There are many ways to become involved and to you to join us in supporting Project Prospero as we embark on our most ambitious undertaking support our mission, and our patrons enjoy an even relationship with the Globe since the completion of the Globe Theatre in 1997. Join us as we step into a new era of with a personalised ticket service, invitations to exclusive insider events and access to studying and staging Shakespeare at the Globe. sold-out performances. To find out more, contact the Development Office on +44 (0)20 7902 1458 To find out more about becoming a part of this special family, please contact the Friends & or email [email protected] Patrons office on +44 (0)20 7902 5970 or email [email protected]

46 47 Hurley, Nick Hutchison, Emily Jenkins, Glynn MacDonald, Lottie Newth Senior Production Coordinator Dr Katrina Marchant, Dr Tristan Marshall, Gemma Miller, Harry Niland Production Operations Manager Gabrielle Moleta, Anna Morrissey, Yvonne Morley, Michael Bryan Paterson Head of Stage Oakley, Brendan O’Hea, Bryan Paterson, Michael Pavelka, Fay Powell-Thomas Deputy Head of Production FOR Music Administrator Huw Prall, Matthew Romain, Simon Scardifield, Philip Annique Reynolds Stafford, Rob Swain, Timothy Walker, Jonathan Waller, Paul Russell Candle Consultant Adrian Woodward, Lucinda Worlock Hayley Thompson Deputy Head of Wigs, Hair & Make-Up SHAKESPEARE’S GLOBE Higher Education Faculty Charlie Titterrell Theatre Finance Officer Adam Coleman, Tom Davey, Jacky Defferary, Fiona Ria-Renee Wallace Theatre Apprentice Drummond, Tas Emiabata, Margo Gunn, Colin Hurley, Wills Head of Production Conor Short, Mary McNulty, Chris Nayak, Deborah Visitor Experience Newbold, Chu Omambala Learning Consultants Chris Costa Guides Manager Nadia Albina, Suzanne Ahmet, Fay Barrett, Simon Bridge, Scott Front of House Manager Brooksbank, Hal Chambers, Alasdair Craig, Philip Cumbus, Carly Davies Mark Ford Security Manager Adam Cunis, Steffan Donnelly, Kate Elliot, Will Featherstone, Front of House Coordinator Mike Fenner, Susie Freeman, Dominic Gerrard, Lori Hopkins, Lily Heathcock Kate Hill Front of House Volunteer Coordinator Joanne Howarth, Mark Kane, Alex Kaye, Tracy Keeling, Exhibition & Event Duty Manager Tom Latham, Pieter Lawman, Sarah Llewellyn- Shore, Kate Alexandra Joseph Executive Team Colin Mackenzie-Blackman Head of Revenue Fundraising Front of House Assistant Volunteer Manager McGregor, Mace, Freddie Machin, Marcello Marascalchi, Rosie Lawton Chief Executive Jo Matthews Trusts & Foundations Associate Exhibition Design & Administration Neil Constable Brian Martin, Yolanda Mercy, Simon Muller, Joanna Nevin, Pete Le May Chief Operating Officer Clare McCulloch Patrons Coordinator Visitor Experience Apprentice Ian Dixon Deborah Newbold, Sam Oatley, David Palmstrom, Carlyss Pedro Martins Director of Development Anna Sampson Membership Manager Exhibition & Event Duty Manager Anthony Hewitt Peer, Emily Plumtree, Arne Pohlmeier, Emmeline Prior, Jack Tony Peck Sandra Lynes-Timbrell Director of Exhibition & Tour Nicola Slaughter Acting Visitor Experience Manager and Visitor Experience Education Stigner, Beru Tessema, Geoffrey Towers, Susan Vidler, (Exhibition & Tour) Archives Assistant Liana Weafer, Kate Webster, Rachel Winters, Jonathan Woolf, Rima Nasser-Ferris Director of Finance & Business Lucy Armstrong Globe Education Practitioners Chris Stead Security Team Leader Librarian Amanda Wright Administration Rossella Black Ben Vercesi Exhibition & Event Duty Manager Archives Recording Coordinator Patrick Spottiswoode Director, Globe Education Mathilde Blum Finance Joshua Adcock, Olivia Calman, Emily Dempsey, Emma Finch, Deputy Head of Learning Mark Sullivan Director of Communications Charlotte Bourne Robert Ferguson Finance Officer Ailis Garner, Edward Haines, Callum McCartney, Laura Learning & Teaching Assistant Michelle Terry Artistic Director Beth Bowden Olga Govor Assistant Management Accountant Purdie, Robin Purdie, Claire Reeves, Ewen Stratton Events Manager Assistant to the Chief Operating Officer Casey Marie Lath Finance Officer Exhibition Assistants Jonathan Hann Senior Learning & Teaching Coordinator (Interim) Chief of Staff Alice Dhuru Francine Quee Senior Accountant Milly Anderson, Angela Bain, Lawrence Bennie, Simon Sarah Mannion Research Coordinator Assistant to the Chief Executive Jennifer Edwards Sarah Szmidt Accountant Bradshaw, Emma Bown, Vivienne Brown, Llyr Carvana, Ruth Meekings Head of Learning Georghia Ellinas Stephanie Yamson Finance Officer Natalia Clarke, Callum Coates, Mel Coghlan, Allie Croker, Learning Coordinator Box Office Alice Evans Domenica Arcuri, Dena Domminney, Heather Everitt, Learning Projects Coordinator Human Resources Box Office Supervisor Rosie Fenning Kaja Franck, Annette Franklin, Tim Frost, Susie Freeman, Peter Bradshaw Events Assistant Human Resources Assistant Box Office Deputy Manager Shiri Fileman Louise Chui Janette Froud, Gerard Gilroy, Matthew Greenhough, Rachael Dodd Operations Apprentice Pathways Coordinator Box Office Supervisor Jadzia Francis Ella Cohen Vanessa Hammick, Lauren Holden, Jon Kaneko-James, Philip Dunning Operations Coordinator (Interim) Human Resources Manager Box Office Manager Anna Franek Kate Hamlin Thomas Jobson, Ffion Jones, Tracy Keeling, Tony Kirwood, Justin Giles Learning & Teaching Assistant Head of Human Resources Deputy Box Office Manager Katherine Guttridge Andrew Lawson Anthony Lewis, Jane Loftin, Cara McMahon, Sam Meleady, Matthew Hodson Senior Events Coordinator Human Resources Officer Emma Hayes Marian Spon Rosanna Moore, Hannah Morley, Javier Perez Opi, David Simon Bradshaw, Maeve Campbell, Gregory Forrest, Senior Higher Education Coordinator Isabelle Hetherington Pearce, Nicola Pollard, Jan Poole, Emmeline Prior, Dominic Katie Jones, Sarah Mackenzie, Lewis Mackinnon, Outreach Manager Retail Melissa Hutchinson Riley, Mark Rowland, Joe Saunders, Jeremy Sheffer, Ruth Jonny Muir, David Palmstrom, Jack Spencer and Head of Higher Education & Research Meghan Cole Head of Retail Box Office Assistants Dr Farah Karim-Cooper Sillers, Joe Solomon, Colin Street, Steph Tickner, Michael Nicola Westwood Digital Manager Alex Covell Stock Controller Rona Kelly Tilling, Alice Trickey, Norma Van Krinks, Janet Walker, Building Operations Head of Business Development Paul Elwick Retail Supervisor Madeline Knights Simon Webb, Emma Woodhouse Building Operations Coordinator Archivist Cheree Johnstone Retail Supervisor Martha Jordan Victoria Lane Exhibition Guides Head of Building Operations Higher Education Manager Raj Mahay Retail Manager Paul Mullins Joanne Luck Sylvie Brasier, Karen Hooper, Simon Kerr, Jenny Kiek, Building Operations Administrator Assistant to the Director, Globe Education Rowanne Anderson, Emma Bower, Ryan Clark, Sarah Millen Eve Matthews Hanna Lingman, Louise Montague, Benjy Ogedegbe Learning & Teaching Coordinator Tom Evans, Fran Mallet, Paul Murphy, Hannah Mayblin Visitor Experience Assistants Communications Learning Projects Assistant Mala Mutinta, Jeannie Skelly Retail Assistants Head of Digital Dorothy McDowell Francesca Battinieri, Simon Hiler, Chelsea Holmberg Jordan Ahmadzadeh Learning Projects Coordinator Access Manager Nyree Mellersh Theatre Javier Perez Opi, Tanya Page, Ian Pettitt, Verna Tucker David Bellwood Elspeth North Higher Education & Events Coordinator Assistant to the Artistic Director Duty Managers Doug Buist Head of CRM & Brand Operations Manager Monica Bakir Senior Press & PR Officer Joe O’Neill Head of Casting Juned Ahmed, Dave Bayes, Robert Bowker, Les Chave, Lucy Butterfield Learning Projects Manager Karishma Balani Security Team Press & Publications Assistant Savitri Patel Bill Barclay Director of Music Vincent Mabo, Terwinder Matharu Phoebe Coleman Becky Rathkey Learning & Teaching Manager (maternity leave) Globe Associate – Text Marcia Clement Exhibition Sales Manager Higher Education Coordinator Giles Block Swan at Shakespeare’s Globe Marketing & Internal Communications Officer Craig Ritchie Kristy Bloxham Deputy Company Manager Julia Dorrington Research Administrator Sandeep Atwal Financial Controller Marketing Assistant Nina Romancikova Katy Brooks Props Manager Emma Dowley Learning Projects Assistant Clement Bernard Restaurant Manager Communications Assistant Layla Savage Lotte Buchan Director of Theatre Sarah Fox Head of Business Development Alice Gardner Bar Manager Digital Assistant Paul Shuter Megan Cassidy Head of Wardrobe Miki Govedarica Higher Education Coordinator Jess Harris Commercial Director Head of Theatre Marketing Jennifer Smith Chui-Yee Cheung Head of Film Distribution Ariel Haber Digital Coordinator Sandra Kiauleviciute Head of Outlets Senior Marketing Officer Ryo Tabusa Laura Collier Consultant Executive Producer Clemmie Hill Lecturer & Research Fellow Benoit Massonneau Senior Operations Manager Graphic Designer Dr Will Tosh Pippa Davis Touring & Events Coordinator Tania Newman Learning & Teaching Manager (maternity cover) Alan Pickett Executive Chef Digital Content Apprentice Jenny Ward Gemma Hayter Venue Technician Joshua Nwokike Project Archivist Francisco Ramos Back of House Operations Manager Marketing Manager Vicky West Jo Hawkes General Manager Emma Pizzey Higher Education Assistant Alexandra Thorne Operations Manager Head of Periodicals Joanna Woznicka Pam Humpage Head of Wigs, Hair & Make Up Nicholas Robins Diccon Wright Owner Group Bookings Officer Catja Hamilton, Eva Lauenstein, Semane Parsons, Matilda James Producer Karen Simon Barbara Taylor, Research Assistants Venue Technician Hester Van Hien Exhibition Sales Manager Assad Jan Communications Projects Officer Jon Greenfield, Prof. , Prof. Franklin J. Hildy, Sharni Lockwood Theatre Assistant Michelle Yagi Peter McCurdy, Sir Mark Rylance, , Literary Manager Hannah Yates Design Manager Senior Research Fellows Jessica Lusk Prof. Martin White Glynn MacDonald Globe Associate – Movement Development Bill Buckhurst, Philip Bird, Dickon Tyrrell, Yolanda Vazquez Music Associate Higher Education Consultants James Maloney Andrei Manta Film & Digital Distribution Officer Bob Barker Friends Volunteer Coordinator Dr Shanyn Altman, Joseph Atkins, Emily Baines, Hattie Marion Marrs Company Manager Amy Cody Capital Campaign Manager Barsby, Alex Bingley, Philip Bird, Giles Block, Sarah Case, Cleo Maynard Candlelit Playhouse Technician Tara Cooper Events Coordinator Richard Cave, Maria Clarke, Simone Coxall, Philip Cumbus, Martin McKellan Globe Associate – Voice Jennifer Ebrey Campaign Coordinator Tom Davey, Dr Callan Davies, , Michael Tamsin Mehta Senior Producer Anthony Hewitt Director of Development Elliot, James Garnon, Peter Hamilton Dyer, Anna Healey, Helena Miscioscia Touring & Events Manager Holly Keen Friends Coordinator Federay Holmes, Joanne Howarth, Mary Howland, Colin Sarah Murray Deputy General Manager Charlotte Leonard Partnerships Manager 48 49 The Shakespeare Barry Day OBE CBE Globe Trust Sir Evelyn de Rothschild Stuart Sessions MBE Prof. Alan Dessen Barry Shaw Shakespeare’s Globe is the vision of Tom Deveson Sam Wanamaker CBE, 1919 – 1993 Patron Stephen Dingle Robert D Smith CMG HRH The Duke of Edinburgh Joe Dowling Tom Stephens Zoë Wanamaker CBE Honorary OUR VOLUNTEER President Mark Engelman Prof. Ann Thompson Robert Erith Trustees Rosemary Ewles Patrick Tucker Margaret Casely-Hayford Chair Rt Hon Lord Falconer of Thoroton Claire van Kampen Iraj Ispahani Deputy Chair Paul Farnsworth Yolanda Vazquez STEWARDS Emma Stenning Deputy Chair Anton Franks Abby Wanamaker Danny Witter Treasurer Andrew Fraser CMG Zoë Wanamaker CBE Alex Beardh Barbara Gaines Hon.OBE David Butter Celia Gilbert Jo Weiss Dr Martin Clarke OBE Prof. CBE Neil Constable Chief Executive Anne Gilmour Martin Westwood Lady Cynthia Hall Emma Gilpin-Jacobs G. Warren Whitaker Daniel Heaf Prof. Martin White Philip Kirkpatrick Charles Goldman Spencer Wigley Gaurav Kripalani Kenneth Grange CBE Michael Willcox Nell Leyshon Jon Greenfield Alan Williams Joanna Mackle Prof. Andrew Gurr Wolfe Prof. Laurie Maguire Daniel Hahn CBE Dame Anne Pringle Jackie Haighton Dame Rachel de Souza Patrick Haighton All current Trustees are also members of the Council Jenny Topper OBE John Acs Lynda Britnell Amelia Costello Chiu Fai Fung Sue Harrison Patricia Adams Steve Ann Costello Margaret Falconer US Board Sandra Hepburn Amy Addinall Angie Brown Amelia Cottle Adriana Fanigliulo Audre D Carlin Life President Prof. Frank Hildy Renu Aggarwal Judy Brown Paula Coulter Paul Farmery Jo Weiss Chair Valerie Hill-Archer Nickie Cox Julie Farrant Gerald H Cromack II Treasurer Anastasia Hille Jan Agostini Patricia Brown John Forlines III Peter Hilton Margaret Alderson Dodie Browne Rona Cracknell Gill Faulkner Michael Hoffman CBE Brian Allen Anne Brownlee Penny Cranford Alison Feist Mike Lebowitz Jeffrey Horowitz Frances Allen Ann Buffa Jemima Crayden Anna Fina Joseph Marcell Rt. Hon. Lord Howell of Una Allen Graham Bull Stuart Crosby Margaret Fisher Sarah Miller McCune Lady Clare Howes Gemma Allred Richard Burkett Liam Crosse Jonathan Flanagan Daniel L. Rabinowitz Sir Simon Hughes Clemence Amoric Liv Burrell Ann Crouch Jane Fletcher Tom Smedes Graham Jackson Ancsell Jenny Burton Maria Crowe Beth Follini George B. Stauffer Lennie James Carina Andrews Elizabeth Butler James Cuffe Kevin Forder Christie-Anne Weiss Jean Jayer Daniela Antonelli Linda Butler Lavinia Culshaw Teresa Fosberry Neil Constable CEO Shakespeare’s Peter Jolly Globe Matteo Anzaghi Zillah Cadle-Hartridge Monica Cummins Sarah Foster Michael Kahn Sue Arnold Bryony Cairnes Kirstie Cuthbert Lorraine Fraine Ken Kelling The Shakespeare Globe Sarah Back Michael Caldon Ian Cuthbertson Marilyn Francis Peter CMG Jenny Baer John Callaghan Terry D’Almeida Barry Fraser Council Norbert Kentrup Zoe Freeman Chair Alan King Pamela Barnes Carol Campbell Anna Davey Margaret Casely-Hayford Luana Baroni Kate Carrigan Jane Davey George Gallaccio Dr Diana Devlin Deputy Chair Geoffrey King Sue Bartlett Jill Catmull Shirley Davie Chloe Gallagher Lyn Williams Convenor OBE Christine Basham Sally Cave-Browne-Cave Jennifer Davies Sarah Garrett Mrs Gene Andersen Adrian Babbidge Robert Leaf Lilian Bateman Carol Chalkley Suzanne Davies Terry Gauntlett Jerome Link OBE Linda Baxandall Christine Chamberlain Esther Davis Nirmala Ghale Merrick Baker-Bates CMG Christopher Luscombe Jean Baxter Alison Chapman Juliette Davis Catherine Gibbon Robert Banks Peter McCurdy Gillian Bayes Yu Chia Huang Pam Davison Julia Gibbs Keith Baxter John McEnery Penney Bell Mary Child Liz Day Martin Gilby Linda Beaney Prof. Gordon McMullan Mieke Berg Sylvia Chinoy Robert Day Eleni Gill Lucy Beevor Joseph Marcell Sally Berridge Lucy Chisholm Paul Dazeley Maria Gill-Williams Henry Beltran Valerie Mitchell Clara Bertram Amanda Churm Gini Dearden Clare Glenister Lord Bichard of Nailsworth KCB Dominic Muldowney Sue Beynon Samantha Clark Cathie Delany Alex Goluszko Christina Blair Maureen Murdoch Debra Bienek Sue Clark Lisa Deverson Beth Goodchild Philip Murphy Lord Blair of Boughton Simon Billig Hilary Clarke Sandra Dickinson Eileen Gordon Heather Neill Lyle Blair Adrian Birchall Yaffa Clarke Catherine Diserens Judith Gordon Lady Rupert Nevill Rudi Bogni Elisa Ditta Helen Gore Richard Olivier Helen Black Ann Clay Liz Brewer Josephine Blackeby Doris Clayton Michael Doherty Ralph Gough Tony Britton Roger Parry CBE Sarah Bland Susan Cleary Rosemary Dray Clare Gray Robert Brooke Sir Michael Perry GBE Nuria Blanes Moreno David Cleverly Judith Dudman Michael Gray Bill Bryden CBE David Pickard Jan Greensmith Alan Butland Ian Plenderleith CBE Lesley Bound Janine Clowes Michelle Dueck Lord Butler of Brockwell GCB CVO Natalie Pray Janette Bowen Claire Coast-Smith Carole Edmunds Caroline Griffin Deborah Callan Prof. Richard Proudfoot Jane Boyne Rod Colborn John Edwards Tim Griggs Audre D Carlin Velma Pursehouse Pat Brackenbury Alastair Collie Linda Edwards Judy Grimshaw Bruce Carnegie-Brown Dr Martin P Read CBE Val Brame Linda Collins Matilda Eldon McCaig Tricia Gwynn-Jones Jeremy Child Dame Mary Richardson Maria Brannan Peter Commins Kerry Elkin Elizabeth Hackwood Alan Cox Nelson Skip Riddle Fay Breed Jane Cook Leonora Ellerby Elisabeth Hadden CBE Sue Robertson Jacqueline Bridges Christopher Cooke David Evans Jane Hadfield John Rodwell Alice Briganti Gordon Cooke Penny Evans Daniela Haenle Jonathan David Anne Rowley Phil Briggs Jane Cooper Paula Eyton Eve Hahn Gordon Davidson Dawn Sanders ONZM, QSM 50 51 Michael Hahn Jennifer Kimber Susan Miell Miriam Purdue Fay Smith Brian Symons Lesley Vanhinsbergh Jan Wilson Frances Hall Marén Klement Jeanne Miles Aleck Quinn Janet Smith Richard Tarlton Clare Vickers Sylvia Wilson Julie Hall Veronica Knights Tobias Millard Barnaby Quinn Joyce Smith Wendy Tarlton Richard Vincent Frances Winfield Lis Hall Gerry Knoud Pamela Miller Christine Quinn Lynn Smith Ezgi Tascioglu Amietta Kathy Virasith Sandra Winnick Sasha Hall Sabera Knoud Bridget Minogue Jan Rae Tania Snabl Doreen Tayler Lawrence Vosper Jan Winnicka Phillipa Hansen Moira Knox Richard Mitchell Charlotte Ratcliffe Leigh Sneade Howard Taylor Angela Walker Sally Winter Siri Hansen Tika Kohlschein Marcelina Mochalska Gill Reader Jennifer Snelling Karen Taylor John Wallace Lionel Wiseman Emoni Hansson Lena Kolloge Bethany Monk-Lane Justine Redfearn George Somers Sue Taylor Joanna Walstow Jeanetta Wishart Christine Harding Rafal Konopka Fiona Mooney Geoffrey Rees Tracey South April Teeling Philippa Ward Aba Wood-Andoh Stella Hardy Sue Kopelman Lucy Moore Nicola Rees Alison Southern Jenny Templeton Rachel Warner Sue Woodland Lucy Harrigan Stéphanie Labourdique Rosanna Moore Mary Reeve Laura Sparkes William Templeton Angela Warren-Jones Emma Wootton Denis Harris Carolyn Lambourne Sally Moran Jenny Reeves Ann Speed Sue Tester Lara Waterfield Marilyn Wright Pamela Harris Mary Lander Anna Moranda Chris Rhodes Sally Spiers Elaine Thomas Robin Watson Shelley Wyche Anne Harrison Tanika Lane Terina Morgans Simon Rice-Oxley Gill Standfield Michael Thomas David Watts Alison Yates Daniella Harrison Pamela Langbridge Marjorie Moroni Helen Richards Tim Stanyon Sue Thomas Lesley Webster Elaine Yeo Judi Harrison Christine Langley Zoe Morrall Frank Richardson Vicki Starr Rob Thomson Sylvia Weidman Damla Yildirim Keith Harrison Natasha Large Jill Morrison Nancy Richardson Sophia Start Cath Thums Marina Wells Emily Young Grace Harrison Ronge Jane Laver Joan Morrison Patricia Richardson Marianne Steggall Sandy Thwaites Jo Westwood Judith Young Susan Hartley Jane Lee Penny Morrison Sheran Ridge Mary Stephens Irene Tilbury Jacquie Wheate Stuart Young Nicole Moyna Leithead Susan Moyle Sam Rinsler Robert Stevenson Sheila Timbrell Grant Whitaker Ann-Yvette Wright Caroline Hawken Alison Lemaire Peter Murch David Risley Jim Stewart Rosanna Timothy Daria Wignall Elle Zacharegka-Laughland Jane Haysom Giuliano Levato Anaka Nair Judith Roberts Mike Stimson Irmgard Tonolo Margaret Wilkes Rolf Zippel Ruth Hayward Cheryl Levett Rumiko Nakamura Susan Robinson Jennie Stone Rosalind Topping Marjorie Willcocks Ana Zulevic Sonia Haywood Maurice Levitt Michael Nash Susie Robinson Joanne Stone-Williams Monica Trabucchi Barbara Williams Lorraine Heal Caroline Lewis Maka Natsvlishvili Kate Roche Jane Stothard Mara Trampuž Fiona Williams Thank you to all the wonderful Andrew Henderson Victoria Lewis Anna Nawrat Geraldine Rose Stephen Stretton Giulia Tremolanti Penny Williams new stewards who will be Alison Henley-Jones Chris Lilly Carol Nayler Susan Rosner Joan Summers Beccca Trigg Annabel Williamson joining us throughout the Susan Hepton Butler Linda Cecilia Neil-Smith Kathleen Rowe Stuart Surridge Flora van Trotsenburg Neill Williamson season. Paul Hicks Kathy Livingstone Elizabeth Newlands Liesl Rowe Brad Sutherland Laura Tutty Alistair Wilson Frances Higgs Martha Lloyd Ashley Newman Anne Rowley Jane Swift Su Tysoe Charlotte Wilson Dilys Hillman Penny Lloyd Bennett Brenda Newman Clare Royal Olivia Swinnerton Mara Uzzell Christine Wilson Kelly Hilton David Lloyd Evans Maureen Newman Mary Ruane Lee Symonds Lonica Vanclay Hannah Wilson Pat Holmes Natasha Lobo Maggie Ni Fhinn Rachelle Rubin Jackie Homewood Steve Lockett Theodora Nickson Abida Ruma Louis Hooker Julie Lockton Helen Niven Stuart Rushton Penny Hooper Robert Lomax Ann Nunn Eleanor Russell Diane Houten May Lopez John Oakenfull Kay Russell Patricia How Neen Lowdell Patricia Oakley Margaret Russell Elizabeth Hudson Joan Lucas Rachael Ockenden Julie Sadler Pauline Hudson Jenny Lumley Carol O’Doherty Thea Sandall Miranda Hungerford Alex Lyons Esther O’Loughlin Margaret Sanderson Abra Hunt Shiela MacLean Jane O’Regan Angela Scales Helen Huson Shekhar Mahabir Papatya O’Reilly Penny Scales Doreen Hutchings Mike Maiden Mick O’Sullivan Alice Scarsi Gillian Hutchinson Sarah Maidstone- Grace Over Pauline Schena OUT NOW Sari Huttunen Henriksen Susan Palmer Eric Scoones Paula Ince Jane Mak Ruth Parry Ali Scott Diana Jackson Ahmmad Makaddar Arvind Patel Alison Scott Sarah Jackson Madeleine Maloney Hazel Paterson Julie Scott ’s intimate, first-hand Tim Jaques Alison Mann Julie Patten Elaine Scutt Abi Jarvis Robin Marcus Emily Pearce Susan Searing account of researching, rehearsing Grace Jarvis Ann Marie John Gwen Peck Frances Searle and performing what is arguably Hilary Jarvis Alastair Marr Alison Pelikan Emily Sebastian Sofia Jaskowsky Joan Marsh Laura Perkins Penelope Sedler Shakespeare’s most challenging role Roger Jeary Katie Marsh Veronica Perron Joanna Selcott Susan Jeary Sarah Martin Carol Peters Abigail Seltzer Ramya Jegatheesan Carolyn Mason Janet Pettifer Peter Serres Featuring many of the author’s Audrey Jenkins Helen Mason Jean Phillips Julie Shankly own paintings and sketches Julia Johnson Helen Mason-Scott Maria Phillips Elaine Shanks Ann Jones Sylvia Matthews William Phillips Linda Shannon Anne Jones Diane Mazen Melanie Pimm Eileen Shepherd ‘Wonderfully written Graham Jones Midge McCall Krystyna Piotrowska Sue Shepherd Kathryn Jones Ann McCann Farida Pochee Jane Shuter and keenly observed’ Lesley Jones Marilyn Mccaughan Laura Pokorny Paul Shuter Robert Jones Sharon McClory Terry Pope Fareeha Siddique James Shapiro Jean Judd Patricia McDonald Lindsey Portsmouth Nicole Silverio Simon Jupp Ann McKenzie Helen Post Julieann Simmonds Sukhi Kainth Anne McPhee Caroline Power Margaret Siudek Jan Kartun Helen Mears Hannah Powles Julie Skinner AVAILABLE IN THE GLOBE SHOP Christine Kebble Tammy Meduna-Scott Usha Prema Jean Slater AND ALL GOOD BOOKSHOPS Dominika Kedzierska Elizabeth Melbourne Alan Priestley Lilian Smart Eileen Keltie Enya Menichini Jacqueline Priestley Amanda Smith Satomi Kendrick Ray Merrall Sofia Pritchard Elizabeth Smith

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THE WINTER’S TALE Emilia

EYAM

Love’s Labour’s Lost

56 59 Our doors are temporarily closed but our hearts and minds are open. As ‘time’ is certainly ‘out of joint’, we are finding and creating ways in which to stay connected and hopeful with you. In this unprecedented time for the cultural sector, and as a charity that receives no regular government subsidy, we need donations to help us to continue to thrive in the future. Please donate what you can to help us continue to share Shakespeare’s gift of stories. If you donate, and are an eligible UK taxpayer, we will be able to increase your donation by 25% due to Gift Aid at no extra cost to you. #ThisWoodenO

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