I think all the plays I see after experiencing a show at the Globe are ruined in some small way, just because they won’t be at the Globe! My goodness, what an experience! I was more immersed in both Mother Courage and A Midsummer Night’s Dream than I have ever been in a theatrical performance. The openness of it, both literally with it being outdoors and figuratively with the performative style, just made for an incredibly engaging time. And that’s the allure of the theatre itself: it gives the audience a sense of belonging and connection, or perhaps a feeling of having insider access to the production of the show itself. It’s a sort of magician-like involvement that I’ve never seen from a theatre, but it didn’t feel cheap or disrupt the flow of the play. It makes me wonder if other similar theatres exist, theatres that frequently break the fourth wall and, you know, literally costume members of the audience.
It also makes me wonder what it was like precisely when Shakespeare first constructed it. For both the shows we saw there, the stage was extended in some way. For Mother Courage, there was a giant pit in the middle of a large, circular stage, and in A Midsummer Night’s Dream, it was a bit enlarged with concert-like side stages extending outward from it. This seems different from the smaller, more intimate stage I’d imagined for the original (my perception may also have been influenced by watching Hamnet immediately before visiting). It definitely would’ve ben more smelly in the standing space too; I’m grateful that the crowd around me all had some minimal access to deodorant. There also certainly wouldn’t have been the digital light displays and sound effects used today. Still, I’d imagine it has the same grab, the same attraction to audiences, because it still, to this day, give its patrons the experience of a lifetime.
Speaking of which, my gosh, A Midsummer Night’s Dream! This is my favorite Shakespeare I’ve read (although the number is only four, so not saying very much), and I love the double story, the comedy, the characters, all of it. I was quite grateful and excited to see this one, among all potential Shakespeare works. It didn’t disappoint, and what a cast! All quite incredible, a few from major West End productions, but they were all stars. I really enjoyed the costumes, the colors, and the liveliness of it all. And the costume changes were impressively fast and I’m not sure how it’s humanly possible to completely change from plainclothes to a vegetable suit honestly. I definitely wonder if the audience engagement of that nature was common in all plays across the West End, or if it’s a Shakespeare special. The covers for Hippolyta/Titania and Theseus/Oberon interrupted the flow a bit; I wasn’t entirely sure what that meant during the first Act, and it also made me wonder why some companies don’t have understudies. But I digress, the play itself was phenomenal as always, and Bottom was truly fantastic (apologizes, sir, for not knowing your name; just know you blew all of us away). They modernized but definitely not in an inaccessible way.
I do want to comment on Mother Courage again, though, because I think it’s still my favorite play of all those we’ve seen. It was one of the most thought-provoking works I’ve read recently and ever, really. The challenging themes, paired with the theatre experience and the excellence of the cast and production designers, made it hyper-engaging for me. I find its painting of motherhood, of childhood, the morality of war, religion in war, and all other related topics fascinating. The actors’ interactions with the audience, though much less prominent than in Midsummer, helped me better understand Brecht’s point as well. The Globe really brought it to life!
All in all, it’s my new favorite theatre, almost the best way to experience your favorite media, with the hands-on approach they give. Highly recommend to anyone visiting nearby, even if you’re only there for three days; I think it should be a new addition to all those “must-do” lists. Until next time!
For Simon,
Reese
P.S. One of the actors (shoutout Mel) asked our names and if we’d sing with her and I’m definitely ruined for life on any other theatre.
Theatre in London U of A 