(Matt Wolf’s article appeared in The New York Times, 5/31; via Pam Green.)
LONDON — Shakespeare’s Globe may have had a spring cleaning, but don’t for a second think that the deservedly popular playhouse is playing it safe.
You could be forgiven for expecting a conservative, back-to-basics approach following the controversial artistic tenure of Emma Rice, who parted company with the theater in 2017 after only two years. But if “As You Like It” and “Hamlet,” the opening productions by the new artistic director, Michelle Terry, are any gauge, the Globe looks poised to continue provoking — albeit in new ways. Already, Ms. Terry’s tenure promises to throw norms to the wind by casting without regard to gender, race or ethnicity. Eyebrows have been raised, but there has been hefty applause as well.
Ms. Rice had ruffled feathers by modernizing a space that Globe hard-liners defend fiercely. They took issue with her use of amplification, contemporary lighting rigs and a pop aesthetic that introduced Beyoncé’s “Single Ladies,” for instance, into her Bollywood-inflected “A Midsummer Night’s Dream.” Her “Twelfth Night” included the London drag artist Le Gateau Chocolat as a disco diva Feste.
No less provocative was Ms. Rice’s candid admission that she found Shakespeare difficult — a sentiment she expressed in her first news conference as artistic director and in various interviews.
Ms. Terry, by contrast, has spoken from the outset of an apprenticeship to Shakespeare that began when she was a child. And because she, unlike Ms. Rice, is an actress — and an Olivier Award-winning one at that — she comes to her current position steeped in the playwright’s work. The result is that you feel at every turn a direct engagement with a dramatist whom Ms. Rice, by contrast, sometimes seemed at odds with, as if the verse were an irritation to be overcome.
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