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Post by zahidf on Jan 23, 2024 10:08:03 GMT
"Shakespeare’s Globe has unveiled its forthcoming summer season for 2024, featuring a number of Shakespeare productions, returning creatives and a brand-new play.
The season opens on 25 April with associate artistic director Sean Holmes at the helm of Much Ado About Nothing, featuring Ekow Quartey and Amalia Vitale in the roles of Benedick and Beatrice.
Artistic director Michelle Terry will take center stage as the titular character in Richard III, directed by Elle While and scheduled to run from 9 May.
After that, Jude Christian will make a main-stage Globe debut with The Taming of the Shrew, transforming the Globe into an absurd carnival from 6 June. Blanche McIntyre will then return to direct Antony and Cleopatra, with Nadia Nadarajah starring as Cleopatra in a bilingual production. Further cast includes William Grint and Nadeem Islam. Holmes’ well-received 2023 production, The Comedy of Errors, will make a comeback from 21 August before embarking on a tour.
Adding some new writing to the season, a world premiere play titled Princess Essex will run in the autumn, written by and featuring Anne Odeke in the lead role. The comedy, set in Southend-on-Sea, Essex, in 1908, recounts the true story of Princess Dinubolu, the first woman of color to enter a beauty pageant in the UK. Robin Belfield will direct the production, scheduled to run from 13 September.
For families, the award-nominated team behind Midsummer Mechanicals will present a new family show, Rough Magic, in the Sam Wanamaker Playhouse from 20 July. Playing Shakespeare with Deutsche Bank’s Romeo & Juliet, the next instalment in the flagship project for secondary schools, will be directed by Globe director of education Lucy Cuthbertson and makes its return on 19 March. This production, designed to support the curriculum, offers a gripping 90-minute rendition set in the present day."
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Post by oxfordsimon on Jan 23, 2024 11:03:34 GMT
Has the Globe PR team moved to the US?
"Center stage", "color" are not conventional UK spellings.
Putting that to one side, there isn't much to excite me there. I don't know how well they did in 2023, but this feels quite safe in terms of choice of repertoire. So perhaps they need to be more commercial in the current climate.
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Post by Jan on Jan 23, 2024 11:28:20 GMT
Has the Globe PR team moved to the US? "Center stage", "color" are not conventional UK spellings. Putting that to one side, there isn't much to excite me there. I don't know how well they did in 2023, but this feels quite safe in terms of choice of repertoire. So perhaps they need to be more commercial in the current climate. They're keeping it quiet but Read Not Dead is back with Richard Brome's 1640 play "The English Moor" |
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Post by zahidf on Jan 23, 2024 11:37:36 GMT
Has the Globe PR team moved to the US? "Center stage", "color" are not conventional UK spellings. Putting that to one side, there isn't much to excite me there. I don't know how well they did in 2023, but this feels quite safe in terms of choice of repertoire. So perhaps they need to be more commercial in the current climate. They said that the 2023 season was a big Success, which is why they are doing more plays this year to include a new play, as their finances are more stable. From Time out "In a break from the doom and gloom that’s gripped the theatre world recently, Shakespeare’s Globe boss Michelle Terry revealed at a launch event this week that the iconic Bankside venue’s somewhat conservative 2023 season – just four shows, all big-name Shakespeare plays – payed off better than expected, stabilising the theatre’s rocky post-pandemic finances and allowing a bigger, riskier 2024 season." Taming of the Shrew and the new play sound most interesting to me |
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Post by princeton on Jan 23, 2024 11:58:57 GMT
I suspect the initial posting is a lift from the What's On Stage story. The Globe press release doesn't use the phrase 'center stage' and uses 'colour'.
Slightly surprised that Much Ado About Nothing which they only did in 2022 is returning so soon, albeit in a new production.
An earlier, one-person, incarnation of Princess Essex was co-commissioned by the Queen's Hornchurch and did a small scale tour of community venues in Essex in 2022 (same writer/actor and director). I'm assuming this is an expanded version with a full cast.
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Post by adamkinsey on Jan 23, 2024 16:27:22 GMT
Another production of Much Ado just two years later? Really?
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Post by ladidah on Jan 24, 2024 7:45:44 GMT
Much Ado is my favourite, but it seems to be performed there every 2 mins!
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Post by cavocado on Jan 24, 2024 9:47:47 GMT
Taming of the Shrew is the one I'd like to see, if only because it's so rarely done now.
It's too soon for another Much Ado, but I wonder if the Elizabethan dress means they've learned from the success of last year's fairly traditional CoE.
I can't imagine Michele Terry as RIII, so will wait for reviews.
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Post by ladidah on Jan 24, 2024 10:33:52 GMT
I love the Globe, and I go often but I've been put off in recent years. Even with cushions, the seats are so, so uncomfortable for 3+ hours. I also always get stuck seated nearby with large groups of tourist teens who talk all through.
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Post by fossil on Jan 24, 2024 13:41:37 GMT
I am curious as to the pricing of Yard standing tickets. Looking at the currently available production, if I try to buy a Yard ticket it offers two options for me to buy at £5 and £10 (with £2.50 and £5 for under 16s).
Last time I went, the Yard was a single open space. Can anybody enlighten me as to why two price options?
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Post by zahidf on Jan 24, 2024 14:01:05 GMT
I am curious as to the pricing of Yard standing tickets. Looking at the currently available production, if I try to buy a Yard ticket it offers two options for me to buy at £5 and £10 (with £2.50 and £5 for under 16s). Last time I went, the Yard was a single open space. Can anybody enlighten me as to why two price options? they are the same tickets, the price stays at £10.00 when the £5 tickets sell out. You can opt to pay £10.00 as a 'gesture' |
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Post by TallPaul on Jan 24, 2024 18:03:22 GMT
Shakespeare’s Globe has unveiled its forthcoming summer season for 2024, featuring a number of Shakespeare productions, returning creatives and a brand-new play. This could catch on. Noel Coward plays at the Noel Coward Theatre...Ivor Novello musicals at the Novello...  |
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Post by oxfordsimon on Jan 24, 2024 23:17:23 GMT
I see there is some online upset over Terry's casting as Richard III because she does not have lived experience of disability.
I know this is something we have debated a number of times. But the Globe should have been out in front of this one.
They have a pretty decent record in terms of casting inclusivity so should have been aware of the likelihood of a backlash.
Speaking personally I don't believe that this particular role should now only be cast with a disabled actor. The character is much more than a medical condition or physical challenge.
But I suspect major companies will need to explain their casting better in the future.
I don't think Terry is right for the role but that is nothing to do with disability. It is not great optics when the AD casts herself in this way.
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Post by David J on Jan 25, 2024 0:20:44 GMT
I wonder how those people felt about Davros no longer being in a wheelchair in Dr Who because it's bad to represent disabled people as genocidal monsters
Or is murdering a few members of your royal family, including two kids, fine.
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Post by Jan on Jan 25, 2024 6:53:01 GMT
Shakespeare’s Globe has unveiled its forthcoming summer season for 2024, featuring a number of Shakespeare productions, returning creatives and a brand-new play. This could catch on. Noel Coward plays at the Noel Coward Theatre...Ivor Novello musicals at the Novello... British plays at the Royal National Theatre of Great Britain ? Unlikely given their obsession with USA. |
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Post by Dave B on Jan 25, 2024 14:13:41 GMT
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Post by aspieandy on Jan 25, 2024 14:22:22 GMT
Someone has to say it: Hoist with his/her own petard
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Post by oxfordsimon on Jan 25, 2024 14:30:08 GMT
Terry and the rest of the management team should have been better prepared for this sort of reaction.
I think the casting is wrong but only because Terry keeps giving herself these high profile roles and I am never comfortable with ADs doing that.
As I said earlier, the Globe has a decent track record of inclusive casting. I don't know how Francesca Mills views her achondrophasia but the recent announcement of her casting as the title character in The Duchess of Malfi is a significant milestone for inclusive casting.
Arthur Hughes is also in that cast.
The casting of three d/Deaf actors in the forthcoming A&C is similarly significant.
The Globe should have had better answers ready for why Terry is taking on this role than they have done this far.
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Post by zahidf on Jan 25, 2024 14:37:50 GMT
Terry and the rest of the management team should have been better prepared for this sort of reaction. I think the casting is wrong but only because Terry keeps giving herself these high profile roles and I am never comfortable with ADs doing that. As I said earlier, the Globe has a decent track record of inclusive casting. I don't know how Francesca Mills views her achondrophasia but the recent announcement of her casting as the title character in The Duchess of Malfi is a significant milestone for inclusive casting. Arthur Hughes is also in that cast. The casting of three d/Deaf actors in the forthcoming A&C is similarly significant. The Globe should have had better answers ready for why Terry is taking on this role than they have done this far. Its probably something which is going to effect all productions of Richard 3rd going forwards and which will have to be taken into account tbf to Terry, she hasnt taken a lot of major roles at the globe, mainly seems to be supporting parts as part of a ensemble |
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Post by oxfordsimon on Jan 25, 2024 14:43:27 GMT
There is always a conflict when staging R3 and that is how far you take account of the historical character when tackling a script which is very much rooted in Tudor anti-Richard propaganda.
I directed the piece before the bones were found in the carpark and I looked at the historical record that highlighted how unencumbered the real Richard was when in battle, how the famous portrait had been modified to exaggerate the visual presentation of the scoliosis. I genuinely do not believed that the real Richard would have viewed himself as being disabled. He just got on and did what he needed to do. The research that followed the Leicester discovery shows how the historical Richard could have lead a full and active life.
My approach was to focus on his psychological issues which are very much at the heart of Shakespeare's characterisation and are the ones that draw in the audience and make them complicit with his villainy.
There are few actors who can truly capture the essence of the character that Shakespeare created and imposing limits as to who can be considered for the role is problematic.
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Post by oxfordsimon on Jan 25, 2024 14:47:26 GMT
Terry and the rest of the management team should have been better prepared for this sort of reaction. I think the casting is wrong but only because Terry keeps giving herself these high profile roles and I am never comfortable with ADs doing that. As I said earlier, the Globe has a decent track record of inclusive casting. I don't know how Francesca Mills views her achondrophasia but the recent announcement of her casting as the title character in The Duchess of Malfi is a significant milestone for inclusive casting. Arthur Hughes is also in that cast. The casting of three d/Deaf actors in the forthcoming A&C is similarly significant. The Globe should have had better answers ready for why Terry is taking on this role than they have done this far. Its probably something which is going to effect all productions of Richard 3rd going forwards and which will have to be taken into account tbf to Terry, she hasnt taken a lot of major roles at the globe, mainly seems to be supporting parts as part of a ensemble Hamlet, Viola, Titania, Hotspur, Lady Macbeth These are all major parts |
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Post by Latecomer on Jan 25, 2024 17:10:40 GMT
Terry is a great actor. I have no problem with seeing her in main parts and always silently go “hurrah” when she is announced. End of.
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Post by Jan on Jan 25, 2024 17:24:59 GMT
. But I suspect major companies will need to explain their casting better in the future. Why should theatres have to explain their casting at all ? And if they do, who gets to decide which bits of casting they have to explain ? For example Greg Doran never explained why he kept casting Antony Sher even though I disapproved of it, why not ? Or is it only things The Guardian disapprove of that have to be explained ? |
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Post by oxfordsimon on Jan 25, 2024 17:59:30 GMT
If they want to avoid internet pile ones, they need to have a media strategy in place.
I don't think they have done anything worthy of a backlash but they should have anticipated one and prepared a better statement than the one issued
I always oppose nepotistic casting but it is just too ingrained in arts culture I fear. Doran and Terry are both guilty of it.
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Post by aspieandy on Jan 25, 2024 18:22:23 GMT
'scuce me, sir; is that an internet pylon?
No, you fool. That is an internet pile on.
I see, and which one should I avoid?
Are you in the arts or a pilot?
Neither.
Then go away.
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Post by ThereWillBeSun on Jan 25, 2024 18:42:51 GMT
It gives me the ick Michelle Terry casting herself in roles. Once ... just about OK. But it's boring. Give other people opportunities and stop being narcissistic... I really struggle! She just needs to focus on being AD. End.
For me it's Shrew and Much Ado that appeal the most so will be booking!
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Post by Someone in a tree on Jan 25, 2024 19:08:56 GMT
Im getting impression its ok for an AD to direct but not to star ?
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Post by Being Alive on Jan 25, 2024 20:14:04 GMT
Yeah I'm not sure what the difference is here with her acting instead of directing.
She's an actor, so rather than directing a show a year, she stars in one. Would we be having the conversation if she was directing shows on a yearly basis?
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Post by princeton on Jan 25, 2024 21:04:33 GMT
Presumably in her application for the job she made it clear that she intended to act rather than direct. Certainly in her first press interviews after her appointment was announced she said "I'm not going to direct [any plays], so nobody needs to worry about that, I think it's a skill that I don't have, I think it's a particular skill, and my passion is acting" and that she would appear in one production per season.
I don't remember similar criticism being levelled at Mark Rylance and I'm pretty sure he acted in one production per season as well as directing.
Dan Evans is appearing rather than directing in his first season at the RSC and I don't think he's acted in a stage production (other than as an emergency cover) for more than 10 years.
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Post by oxfordsimon on Jan 25, 2024 22:56:18 GMT
Yeah I'm not sure what the difference is here with her acting instead of directing. She's an actor, so rather than directing a show a year, she stars in one. Would we be having the conversation if she was directing shows on a yearly basis? If that was depriving others of that opportunity, I would say so. If you are AD, that it your primary focus. Directing or acting should happen only very occasionally. |
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