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Shakespeare' s Globe Theatre in general |
| Date: |
05/07/08 (143 review reads) |
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Advantages: A night of pure magic
Disadvantages: You might get wet!
At the very end of the 16th century, James Burbage was running a theatre company in Blackfrairs, London, of which William Shakespeare was then a member, an actor and a playwright of some renown, even in those days. Following James' death his two sons, as a result of a dispute over the lease of the theatre that they were then using, leased a plot in Southwark, south of the river Thames, on which to erect a new theatre. That theatre was the first Globe. It was close to the equally famous Rose Theatre, and rivalry between the two theatre companies was intense.
That original Globe burned to the ground during a performance of Shakespeare's Henry VIII but, as with many such disaster in those days, they quickly rebuilt it and carried on performing. Fire in London was much more common in those days than it is now. The theatre was finally demolished for good during the Commonwealth reign of Cromwell, under the influence of the Puritans, such humourless people that they could probably give the Taliban a run for their money!
Fast forward to 1970. Enter American Anglophile-supreme, the much loved and talented actor and director, Sam Wanamaker, father of Zoe who is much present on our TV screens these days. Sam was a huge fan of British theatre and especially of the works of Shakespeare. So enthralled was he with the thought of once again seeing Shakespeare's works as they were originally performed that he made it his raison d'etre for the remainder of his life to somehow get the Globe rebuilt.
Unfortunately it could not be rebuilt on the original site as that is now occupied by a modern office block. However, if you happen to be walking westwards along Park Street towards where The Globe is now then look through a set of railings on your left where there is a plinth beside the road and there in the courtyard of the offices you will see a ring of black stones emerging from the side of the building, set into the surface of the car park. Those stones mark the visible part of where the perimeter of the original Globe Theatre once stood.
Construction of the "New" Globe started in 1987 and it opened for its first performance ten years later. Sadly Sam had passed away three years before the opening, but at least he had the satisfaction of knowing that his dream would be realised. Without Sam Wanamaker the reconstruction of The Globe would never have happened, that is certain. It was his tireless work to obtain grants and raise donations and subscriptions that made it happen. Fortunately there are thousands of like-minded people who have shared his dream and have continued his work to the present day. It is without any shadow of a doubt that The Globe is one of the premier jewels in London's crown as the greatest city on Earth (with the possible exception of Paris).
In 1993 he was awarded by the Queen a thoroughly deserved and long overdue honorary CBE. But for the fact that only British and Commonwealth nationals can be awarded knighthoods (something I've always thought bizarre) he surely would have been ennobled and deservedly so. However, he remained an American citizen to his death, despite the McCarthy persecutions he suffered during those dark days in recent American history, which was the reason that drove him to England to live for the rest of his life; their loss, our gain!
The new Globe is as close an approximation to the original as it is possible to get whilst allowing for such compromises as are required by things like modern Health and Safety regulations. There exists little by way of contemporary descriptions of the original that were available to guide the architects and so, much has had to be guesswork together with comparison with that which is known of similar theatres such as the Rose. Nevertheless, the moment that you enter the site you just know that this so right. Enter the auditorium and, could it possibly have been any other way? It just reeks authenticity.
The site consists of more than just the theatre itself though. Adjacent is the entrance with the Box Office and, up a flight of stairs the shop where you can buy your memorabilia and a bar and restaurant. There is also an exhibition of the life and times of Shakespeare. This building complex has been designed in a style which, though different from the theatre itself, is very sympathetic to the area and the style which, though not contemporary with the original, is still very appropriate.
If you want to take away with you something by which to remember your visit then be sure to buy before the evening's performance. You are unlikely to find the shop still open afterwards, which I found strange. There were plenty of visitors who also seemed bemused by the lack of any attempt to draw more money out of very willing pockets!
The restaurant I have not tried so can give you no advice about whether or not you should give it a try. The reason is that this area of Southwark is redolent with the dozens of restaurants waiting to satisfy the appetites of hungry theatre goers, and others. The Globe site could not possibly be better located. How Sam managed to get his hands on this prime location is beyond me. As a potential office development it must be worth billions. Overlooking the Thames and right beside the Silver Jubilee Walkway that runs along the south bank of the Thames, down to Waterloo, with St Paul's across the river and the Tate Modern virtually next door, views just don't get better than this anywhere in the World.
We have taken to eating before the performance in Tas Pide, a Turkish restaurant immediately across the road from the entrance to The Globe. This excellent eatery always seems to be packed out. You are strongly recommended to book well in advance. They recognise that many are attending the theatre and service is prompt and courteous so as to get your fed and on your way so as not to miss the show. I have asked Dooyoo to create a new category and will write a review in due course.
On entering The Globe the immediate thing that you notice is that the floor is almost entirely paved with slabs of stone into which have been engraved the names of the many thousands of people without whose contributions The Globe would never have come to fruition. Sadly I noticed that a few very well-known names had been misspelled; I won't name them to save their embarrassment; If you go there yourself, see if you can spot them.
The courtyard separating the entrance from the theatre itself has high gates that allow access back onto the riverside. These gates are only opened during the interval, for the audience to take their refreshments along the river bank. You can buy drinks and snacks at kiosks set up in the courtyard for the purpose or else from the "Mr Whippy" who seems to have bagged himself this prime location, against stiff competition I would guess.
The auditorium is circular. The audience is seated if they have paid for seats in one of the three tiers of the Galleries that form the outer wall and which are covered from the elements. Other than the Galleries the only other option is to stand in the Yard between the Galleries and the Stage, which projects out into the Yard in traditional fashion. If you stand here then be aware that you will be standing for the entire performance. Be also aware that the Yard is open to the skies and performances do not stop for rain. Be also aware that umbrellas are *not* allowed! If the forecast is inclement then be sure to bring a hooded "Pacamac" and wellies.
Seating in the Galleries is on solid oak benches. There is no relief from a numb bum unless you have had the forethought to rent a cushion from one of the kiosks in the entrance hall. The seats don't have a back either so, unless you are seated on the back row against the outside wall then you may also want to hire a back support as well as your cushion.
We have so far only sat in the Lower Gallery but, rest assured, this is built sufficiently high above the heads of those standing in the Yard that your view will not be obstructed for that reason. However, the upper Galleries are supported on thick oak columns and if you are seated adjacent to one of these then your view may not be as good as elsewhere. When booking your tickets you are warned where the seats in question have a "restricted view". Nevertheless, I've not found it to be too much of a problem in practice.
As the seating surrounds the stage on about three quarters of the circumference it is inevitable that many seats will have a side-on view. The pricing of seats takes into consideration the quality of the view that they present. Nevertheless, the action takes place all over the stage and so there is always something going on wherever you sit. For those in the Yard this means in many cases really getting up, close and personal with the actors. The action doesn't just take place on the stage. More than likely you may find part of the performance taking place right beside you as actors proceed to the stage, declaiming their lines, from the back of the auditorium, weaving their way through the audience in the Yard. Theatre doesn't get much more exciting than this.
We have had the great pleasure and huge privilege to have attended two performances at The Globe now. Last year we attended what was one of the final performances of the acclaimed production of Othello, starring amongst others, that brilliant actor Tim McInnerny. If you didn't see it then that is sad. This was by far one of the very best I have ever seen. Every actor was on the top of their form and that audience responded in kind. It was one of the best theatrical experiences I have ever enjoyed save perhaps for a performance I saw of The Merchant of Venice at the Old Vic some 45 years ago, starring a very, very young Diana Rigg as Portia, which showed that here was an actor with an exciting future.
Our most recent experience was on this year's Midsummer Night, for a performance of A Midsummer's Night Dream. This time we were accompanied by our son and daughter. Once again the performance was outstanding. Although the weather forecast was not good, the rain held off and a packed audience enjoyed a wonderful and memorable experience. My daughter, who had never seen Shakespeare for real before, commented afterwards, "I never realised that Shakespeare was so funny!".
One word of warning before I close, unless you go to the box office at The Globe to buy your tickets, you are as likely as not to be passed off onto one of the booking agents to buy you tickets by phone. You can book on-line but for such as A Midsummer's Night Dream, most especially for the Midsummer's Night performance, tickets are at a premium.
I was on the phone for five hours to try to get tickets and by then most of the best had already gone. When I eventually got through I got tickets but tried to pay for them with my Cahoot Webcard. The agent with whom I was dealing claimed that the transactions (I tried three times with different numbers) had been rejected by Cahoot. I later found out from Cahoot that in fact they had been approved although the actual transactions were never processed. I was forced to use a "real" credit card, something I'm always very edgy about doing over the phone or on-line.
The Globe is within easy walking distance of Waterloo Station and the District Line stations, Blackfriars and Mansion House on the north side of the river. The Globe can by reached from there across the "bouncy bridge" (The Millenium Bridge), which bounces no more. Head for the Tate Modern on the south bank and then turn left. Be aware also that, although south of the river, this part of Southwark is in the London Congestion Zone charging area so, if heading for one of the car parks in The Borough, you may still get caught, anywhere above Elephant & Castle, unless it is at a weekend.
A visit to The Globe for a performance of one of Shakespeare's masterpieces is in my opinion one of those many things that you simply must do before you die.
See you there next time?
Summary: An experience not to be missed at least once in your life
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