shakespeare's globe tour review

The Ultimate Guide to visiting the Shakespeares Globe

Shakespeare's globe ultimate guide.

Nestled near the Tate Modern and the Millennium Bridge, Shakespeare’s Globe Theatre may seem a little out of place. It was, after all, designed after the original Globe Theatre which was built in 1599, (and then later rebuilt in 1614 after it was destroyed by a fire).

When it was first constructed, the Globe Theatre was located in the epicentre of London’s entertainment district on the Bankside in Southwark. Performances were put on by the Lord Chamberlain’s Men, and it is said that Shakespeare himself even sat in the theatre to watch his own performances.

The modern-day Globe Theatre is an oak-and-thatch replica of the original 1599 Elizabethan playhouse (which once sat about 200 metres from where the Globe stands today), and as a result concertgoers will feel as if they’ve been transported back to Elizabethan times when watching a performance.

Today the theatre serves as an open-air venue dedicated to the work of Shakespeare, and some of the many performances visitors can still watch at the playhouse include A Midsummer Night’s Dream, Macbeth, The Taming of the Shrew, and many, many more. Depending on the time of year, several plays, operas, comedy shows and candlelit concerts are held inside the playhouse as well.

Visitors can sit on the wooden benches (which can sit up to 340 people) surrounding the stage, or in any of the two tiers of galleried seating, and there are also productions held in the recently-opened Sam Wanamaker Playhouse (a candlelit indoor theatre located inside the Globe’s building). Attendees can even stand in the standing rabble directly in front of the stage, just as they did in the original theatre during Elizabethan times.

Shakespeare's Globe Theatre Highlights

Not only does the Globe Theatre host numerous performances throughout the summer months, they also host guided tours of the playhouse as well as the Sam Wanamaker Playhouse, which are led by the Globe’s many performers. During the tours, visitors are educated on the history of the Globe, and will also be shown costume and prop collections which are used during performances at the theatre.

Another highlight includes the Globe Theatre’s Exhibition, which educates visitors on Shakespeare’s life, as well as where he lived in London. It also gives some background on what Southwark would have looked like during Elizabethan times, as well as more information on the construction of the original playhouse.

Depending on when you visit, there may also be some temporary exhibitions and/or galleries being held inside the playhouse, which range from historical to photography exhibitions.

Special Tips

Getting There

Visiting the globe theatre.

Make sure you check the weather forecast before you book your tickets, as those in the standing area may be “exposed to the elements” while watching a performance; (it is an open-air theatre after all). The use of umbrellas is strictly forbidden, so make sure you bring an extra raincoat and warm shoes, just in case. If you’re worried about standing in the rain, there are seats available which are protected under a sound roof.

Guided tours of the Globe Theatre and the Sam Wanamaker Playhouse take about 30 minutes each, and you’re welcome to ask questions at the end of each tour. Visitors can also go on their own self-guided tour of the Exhibition which includes a complimentary audio guide that is available in several different languages; (visitors can pick up their audio guides at the admissions desk at the Exhibition). If no tour is running on the day of your visit, visitors can enter the Exhibition at a reduced price.

Visitors can also go on a tour to the Rose Theatre archaeological site (only on certain days when there is an afternoon matinee performance), to view the remains of the original Globe theatre. If you don’t feel like going on a tour, you can easily find the spot of the original theatre on your own, as it is marked with a plaque as well as information panels about 200 metres away from the Globe.

Ticket prices and Opening Hours

Due to the fact that the Globe is an open-air theatre, performances are only held from mid-April to mid-October. The Sam Wanamaker Playhouse theatre season is from October until April, but candlelit music concerts are performed here throughout the year.

Globe Theatre tours, on the other hand, run every day throughout the year (except December 24th and 25th); however, during the performance season tours finish around mid-day in order to allow time for matinee performances. Sam Wanamaker Playhouse tours are only available on selected days, and generally run every 30 minutes between 1 p.m. and 5 p.m.

The hours for the Globe Theatre tours are:

• 9:30 a.m. to 5 p.m. (Mondays)
• 9:30 a.m. to 12:30 p.m. (Tuesday to Saturday)
• 9:30 a.m. to 11:30 a.m. (Sundays)

Both the Exhibition and tour tickets are sold on a first-come, first-served bases, so try to arrive at least 30 minutes before the final tour of the day to ensure yourself a spot.

For Shakespeare performances, seat ticket costs range depending on visibility. There are 700 standing tickets available (which offer the best views of the stage) and cost £5 each. Seating tickets for the lower, middle and upper galleries cost anywhere between £20 and £45.

If you want to watch a candlelit concert at the Globe Theatre, tickets cost £10 (for standing) or anywhere between £15 to £48 (for seating). Tickets for opera performances cost £10 (for standing) or £26-£79 (for seating), while tickets for comedy shows cost £10 (for standing) or £25-£35 (for seating).

Free Tours in Your Language

Suggested companies

Dua lipa charts.

Shakespeare's Globe Theatre, London   Reviews

Visit this website

Company activity See all

Write a review

Reviews 2.6.

Most relevant

Have seen better school plays

Have seen better school plays. Voices not projected well, esp. the narrator. Could not hear most of it. Waste of money. Several groups walked out at the interval.

Date of experience : December 29, 2023

Hansel and Gretel. Fabulous show.

Went to watch Hansel and Gretel today Christmas Eve. I read some really poor reviews so was not looking forward to it, but honestly it was fantastic. We were standing in the stalls and we throughly enjoyed it. I would recommend.

Date of experience : December 24, 2023

Very Disappointing.

Tried to give my son the experience of a Shakespeare Play ‘As You Like It’. Alas experienced very odd ‘alternative’ production. Lead actress had an American accent. Guardian review summed it up best. We only lasted until the interval as the woman nursing her young baby in the row behind totally ruined the performance fit us. Apparently Thr Globe have no restrictions.

Date of experience : October 29, 2023

A good value great tour

We did the tour of the Globe Theatre & what a great tour it was. Chris our guide was fantastic; funny & informative, he really made it a great tour. The Globe Theatre itself is an incredible building & definitely worth a visit. Afterwards had excellent hog roast sausage rolls & chocolate brownies in the cafe. We thought it was all good value & the staff were lovely.

Date of experience : November 02, 2023

As you DONT like it

As you DONT like it ! Possibly the worst ‘professional’ rendition of ‘As you like it’ ever staged. Globe managers- please, please please be more discerning when selecting theatre companies to perform on your world renowned stage. The only actor with any life in her at all was Rosalind, the others simply could not act . Their characterisation was hopeless and most of them could barely enunciate or project their lines. They managed to turn a lively Shakespearean play into some sort of burlesque mockery of the Bard’s genius. To be avoided!

Date of experience : August 30, 2023

Shakespeare's London Walking Tour

Huge thanks to Mark, who led the walking tour with a friendly and knowledgeable enthusiasm that was truly infectious. His obvious love of what he does shines through, as does his love of Shakespeare and not only the Globe but the Sam Wanamaker Playhouse. An absolute treat of an hour well spent soaking up a bit of London's lesser talked of past.

Date of experience : December 22, 2022

Globe - Much ado about nothing

First time to Globe. Bought balcony tickets. View of stage non existent. After 30 minutes of desperately trying to enjoy the audio presentation, asked staff to be moved. Immediately moved us to a "partially obscured visibility" location. Unfortunately apart from the rather limited view, we were placed right by a group of 13 year old French school kids, who were bored out of their minds and made that clear in a number of obvious ways. Sorry to say. Whole evening was a huge disappointment. It may be that the actors gave a great performance - I have no idea. Those who saw what was going on seemed to think so. Looking now it seems our seats have been removed from sale. Well that's reassuring. PS_ I have called this review - "Much ado about nothing". Shows you how much I followed the play - it was called "Comedy of errors" Ah well! Sorry Globe to give such a bad review - but it was pretty bad!

Date of experience : July 15, 2023

Merchant of Venice

Merchant of Venice. Some superb acting; the actor playing Shylock gave an astonishing and moving performance. A pity that the improvised "add on" scenes were silly distractions. (Though I liked the gameshow, the disapproving rebuke to Portia and Shylock's poignant and delicate removal of the crucifix). On another point the staff insisted on seeing Covid passes despite restrictions being lifted and were equipped with thermometers (which they didn't use). Mask wearing was enforced by some quite heavy handed means even though actors moved freely amongst the audience without masks. I think the people who are given these roles are volunteers. They could do with being far less officious.

Date of experience : March 03, 2022

The interface of their website works…

The interface of their website works very bad on i-phones. The booking was made for an incorrect day, and their support team refused to help me to find a solution to the problem nor issue a refund.

Date of experience : June 20, 2023

Amazing customer service

What incredible customer service. My daughter was sick on the morning of the performance and, despite it being an 11am show, they moved the tickets no problem at all. They were so sensitive to the situation and exchanged our tickets at no extra cost, quickly and painlessly. Even asking how my daughter was. In such a time of recession, where theatre is a luxury that some people can't afford, to be able to attend a show for £15 and to be able to move it if you are sick, is priceless. I know where I'll be booking all my tickets! X

Date of experience : August 06, 2022

I took 4 family members and friends to…

I took 4 family members and friends to the Globe to see "As you like it". This was my first visit back to the Globe since the covid pandemic but prior the pandemic I have enjoyed excellent performances of Shakespeare plays at the globe and I have seen numerous performance of Shakespeare plays over the years in all sorts of venues. This was the most awful awful performance I have ever seen put on by a team of actors who had no idea how to act never mind having the ability to act out a Shakespeare play. They destroyed a great Shakespeare play by turning it into a song and dance performance , unfortunately none of them were able to sing or dance. I found it unbelievable that the Globe Theatre allowed this group amateurs to perform on the stage at the Globe Theatre. If this is how the Globe theatre now see Shakespeare plays should be performed going forward then it's a complete destruction of the great man's works and I don't think I will ever be returning to the Globe again.

Date of experience : August 31, 2023

Magical theatre

I’ve been to the Globe to see several plays and have loved it each time. It would be nice to see a slightly more traditional version of the plays sometimes however the atmosphere is always amazing and the actors are great at making the emotions and comedy shine through in a way that is easy to understand for everyone. There is something magical about the Globe and I cannot wait to visit again.

Date of experience : October 31, 2021

Outstanding performances and amazing staff!

I absolutely adore Shakespear's Globe Theatre, I can't wait for it to re-open. Some amazing memories here seeing outstanding shows. The staff are always very welcoming and helpful.

Date of experience : March 26, 2021

The Shakespeare Globe use to be my…

The Shakespeare Globe use to be my favourite theatre to go to but now I don't think I'm the target audience anymore.Over the past three years they've been reimagining a lot of the plays very badly and they don't make sense when they don't follow the books.I recently went to see the reimagined version of Romeo and Juliet and I felt like the play was aimed at children and it just reminded me of the 1996 film with Leonardo DiCaprio and Claire Danes in it.They even reimagined the As You Like It play but the acting was that bad I couldn't wait for it to finish and when the fans were clapping at the end of the play I thought I watched a complete different play to them. Before 2019 I would of gave The Globe 4* but because I'm not their target audience anymore and that the acting in the plays is getting worse I only gave it a 3*

Date of experience : October 23, 2021

Modern dress - what a disaster!

My wife and I have attended many, many productions at The Globe over the years. They have always been a highlight of our London visits and always very enjoyable. We live in France so when the Covid-19 regulations allowed us to visit London again, we jumped at the chance to include The Globe and a production of “Romeo and Juliet” in our schedule. Well, what a great disappointment that was. We booked on-line but there was no mention that the production would be in modern dress. Part of the magic of Shakespeare is the combination of period dress and Shakespeare’s prose as well as the wonderful ambiance of the theatre. Frankly, we have seen better amateur productions and as for the socio-political notices behind the stage, it was turned into an amateur, angry student production. It was truly terrible. It is evident that the actors did their best with what they had, but who on earth allowed this abysmal production to go ahead? How could we recommend to our overseas friends that a visit to The Globe is essential, when it appears to have been taken over by juvenile radicals.

Date of experience : August 26, 2021

A disappointing Macbeth

The performance of Macbeth was very disappointing. Not only were the lines badly spoken, but the casting was off, the characterisation not convincing and the acting in general undermined the credibility of the play.

Date of experience : August 24, 2023

Why Would The Globe Be Connected To Scam Business

Really awful . Activity for wife’s 40th to go to Shakespeare globe and meal for two . Covid hit , couldn’t boom. Managed to get it extended . Went to book, sorry , not taking bookings for the globe yet . We went to London and sure enough , people were in and out of the globe . Managed to get voucher extended again , as we only have set times when wife is off work that we can go , schools etc . We go to book, site says to go to encore so we go to encore to book online , no experience for globe shows , so have online chat with encore , who doesn’t really know anything but someone will call me back in two days . Two days later no call. So I email activity superstore , and reply says sorry we don’t do that experience anymore , here’s another choice , and it was not what my wife wanted to do , so I send email in disgust saying this is Mis selling , they come back and say they have given us another option , if we not happy , then there is nothing they can do . So I have replied saying you can pay the money back as you can’t provide what I paid for . I am awaiting response , but can bet it will say no . Do not use this company . I will be contacting trading Standards and the globe to express how shocking and scamming this is .

Date of experience : April 28, 2022

Hopeless Box Office Staff

We queued at the main box office foyer to get tickets for the guided tour, which we were really looking forward to. There were two ticket desks, both manned, and a customer service desk occupied by two ladies, who were deep in a loud, "gossipy" conversation. It then transpired that the second box office desk employee was clearly not interested in selling tickets or dealing with our queue and the two "information" ladies simply refused to get involved in the process of assisting the sales process. A full fifteen minutes later we were still in exactly the same position ..... our sales queue had not moved at all except that it was doubled in length as more unwitting Shakespearean fans had joined us to make purchases. Twice, potential customers asked the "information" ladies if they could assist and twice they refused to do anything except continue their banal, and quite loud chit chat. After a full 20 minutes we simply gave up and left. This small story and very negative experience might seem like much ado about nothing, but this terrible customer service has lost the Globe theatre some sales, and generated ill feeling. As a result of this comedy of errors we wont be taking the guided tour, or spending our money with you until someone in charge of the front desk realises that customer service should have progressed since Elizabethan times, and the cash paying peasants need to feel that their presence is actually welcomed. Poor old Will would be turning in his grave if he could see how theatre fans are treated at the Globe box office in 2022.

Date of experience : October 17, 2022

Very Bad Customer Service

We arrived for a Guided Tour experience. Our party walked into the venue and at the end of a walkway a member of staff was speaking to a lady. We went to go to the ticket desk and the member of staff stopped talking to the lady and abruptly said to us "wait here!" We waited, however, we were taken aback at the abrupt way the member of staff said this to us. Two women came in behind us and proceeded to go passed us and passed the member of staff talking to the lady. The member of staff did look at the two ladies but said nothing to them and they proceeded to the ticket desk and weren't stopped from doing so, as we were. As the conversation with the lady was continuing for a considerable period of time, we proceeded to go passed them to the desk as the two ladies behind us had done. The member of staff again, very rudely, tried to stop us and I asked why they were able to go to the desk and we were not? On receiving no answer, we proceeded to the desk. After a while, the two ladies proceeded to buy tickets. The original lady in front of us was then escorted to the desk by the member of staff and was served before us which was fine, as she was originally before us. She proceeded to ask several questions which the other staff member at the desk answered quite abruptly and then proceeded to call the lady "sir" when answering. This lady then decided against buying tickets for the guided tour and left. We had pre-purchased tickets through a Rewards partner and the lady at the desk processed our booking but she was quite brusque and unfriendly. We agreed later that if we hadn't already paid through a Rewards partner, we would have left also. We enjoyed the tour itself but it was not worth £25 per person. Our Tour Guide, Mark was very good and knowledgeable and he was the Globe's redeeming factor. However, given the complete lack of customer service on arrival and the cost, our party would not recommend this at all. We visited a lot of different venues during our trip to London and this was by far the worst experience. We strongly recommend saving your money for other things in London which are far better, including customer service which was sadly lacking here. Left a very bad taste, I'm afraid :(

Date of experience : July 30, 2023

Magical experience in a stunning…

Magical experience in a stunning location. A must visit when in London. Wonderful.

Date of experience : March 19, 2022

Is this your company?

Claim your profile to access Trustpilot’s free business tools and connect with customers.

Shakespeare's Globe Guided Tours with Optional Shakespearean Afternoon Tea

• Enjoy an immersive guided tour of the theater
• Gain an in depth understanding of Shakespeare
• Upgrade to have afternoon tea at Swan at the Globe
• Guided tour of Shakespeare's Globe Theatre (maximum 30 people)
• Guided tour and Shakespearean themed afternoon tea, if option selected
• Entry/Admission - Shakespeare's Globe Theatre
• Hotel pickup and drop off
• Food and drinks, unless specified
• Wheelchair accessible
• Stroller accessible
• Service animals allowed
• Near public transportation
• Surfaces are wheelchair accessible
• Confirmation will be received at time of booking
• Visitors need to arrive at the entrance of the Groundling Gates on Bankside opposite the river, where a staff member will greet you at an outdoor information pod.
• We advise visitors arrive 15 minutes prior to tour departure.
• Most travellers can participate
• Duration of guided tour is 50 minute.
• The Globe is a working theatre, tour times vary due to performance schedules or sometimes take place during rehearsals (giving you an exclusive look at the rehearsal process!).
• Guided tours take place in all weathers.
• There is no dress code, but we recommend visitors wear appropriate clothing and footwear as tours take place outdoors.
• Tuesday to Saturday afternoon tea is served at 1.00pm if option is chosen
• Sunday afternoon tea is served at 12.00pm if option is chosen
• This tour/activity will have a maximum of 14 travellers
• For a full refund, cancel at least 24 hours in advance of the start date of the experience.

• Juliasztuczkowska 0 contributions 3.0 of 5 bubbles literary classic One of the things that comes to mind when it comes to England is seakspere. lived here. his works and works are here. sheakspere has an interesting life. What could a literary great's private life be like? romantic? Read more Written 19 April 2024
• infos392 0 contributions 5.0 of 5 bubbles Truly amazing This is a truly amazing site to visit, treat yourself, go on the tour, and see a show. Sheltered but outside the theater. The play was outstanding. Get some delicious meals before or after your visit because it's near to Borough Market. Read more Written 14 April 2024
• dawnmY6236XA 0 contributions 4.0 of 5 bubbles Check show times One of the first glorious days in london this year so it seemed everywhere was busy we walked from london bridge through borough market and along to the globe so many people all out enjoying the sun Had got the tickets a month or so before so was pleased it wasn't raining. Quite busy inside we had lower gallery seats we had a teenager in our party, she hasnt seen or read any Shakespeare yet and she enjoyed the performance The only negative I've never been to any show, performance where so many people turn up late I can understand maybe a few but at least 5 times we had to move or were blocked but late arrivals trying to find there seat and not just a little late so this did spoil it Read more Written 14 April 2024
• Delta-on-tour 0 contributions 5.0 of 5 bubbles Affordable culture for all! Epic visit during Easter hols, second visit this year and second play for £10 or less, this time Romeo and Juliet! One of Shakespeare’s best known plays authentically adapted to ensure accessibility for all ages and audiences, truly spectacular! Read more Written 4 April 2024
• Dolphduncan 0 contributions 5.0 of 5 bubbles Definitely worth a visit Wonderful experience of a modern day production of Romeo and Juliet. We sat on the seats which are wooden benches and paid for the cushions which were a god send lol. Fantastic experience Read more Written 4 April 2024
• 508katep 0 contributions 5.0 of 5 bubbles Great piece of history We used the London Pass to visit the Globe Theatre. Paige was our tour guide and she was phenomenal. You can tell she definitely loves her job and everything about Shakespeare. She was very informative. Read more Written 3 April 2024
• adventerousfamily 0 contributions 5.0 of 5 bubbles Must see in London Had a wonderful time with my family (kids ages 11, 15,18). The museum section was informative and fun. The whole family had a wonderful time dressing up and learning interesting facts about the time and plays. The tour was the highlight. We had a wonderful guide who entertained us with his jokes as he gave us an in-depth look into the workings of the theatre and the life and times of Shakespeare. A wonderful way to bring Shakespeare's life and plays to life. Read more Written 2 April 2024
• joanneu857 0 contributions 5.0 of 5 bubbles Worth a visit Thank you to Vincent on an excellent tour around the globe. Really informative and interesting and was clearly passionate about the globe and all it stands for. Would recommend a visit Read more Written 1 April 2024
• Y194VBtomg 0 contributions 5.0 of 5 bubbles Upper Gallery - Bay M M3 Definitely order the cushion. You are sitting on the bench. There is nothing to lean back on, so you can lean forward with the rail in front of you. May have the most restrictive legroom I’ve ever had, but at 6 feet, I made the best of it, and really enjoyed myself. View is excellent. Read more Written 30 March 2024
• mildredd807 0 contributions 5.0 of 5 bubbles Guided tour We went on the guided tour and had a great time! Our guide, Mick, was very obviously passionate and knowledgeable on Shakespeare and the Globe Theatre’s history. His insights into the processes used in performances from the past as well as current shows were very interesting and his quips and jokes were very fun and informative at the same time! I understand you can’t request a guide, but if possible, ask for Cockney Mick! Read more Written 29 March 2024
• ninabV264CI 0 contributions 5.0 of 5 bubbles An amazing Education Group Shakespeare tour and workshop! Want to say a massive thank you to all the staff from admin, check-in, to our guide Jack, in regards to our KS3 Education workshop and tour today. Jack was fantastic even getting the most shy to participate in fun learning of Macbeth. Very friendly, professional staff, full of knowledge. Highly recommend and we will definitely be back for a show. Read more Written 27 March 2024
• Getaway56998209873 0 contributions 5.0 of 5 bubbles After a great tour with an awesome tour guide I'm looking forward to Summer and my return! Amazing experience. The tour guide was Michael (New Zealand) is an extremely friendly and knowledgeable person who made sure the tour was a pleasurable experience you'd never forget. Thank you Michael, you were fantastic! Read more Written 25 March 2024
• Grandmastreasures 0 contributions 5.0 of 5 bubbles Thoroughly enjoyable tour Thoroughly interesting and enjoyable tour of the theatre. Our guide Llyr was very knowledgeable , entertaining and made the tour fun. Worth every penny. Read more Written 19 March 2024
• ChrisRville 0 contributions 5.0 of 5 bubbles A glimpse into theatrical history We had a fantastic tour with our guide Llyr. He was extremely knowledgeable and engaging and we learned so much about not just the Globe but about theatre in Shakespeare’s time. Read more Written 18 March 2024
• orint2024 0 contributions 5.0 of 5 bubbles “True crime” Shakespeare walking tour with Michael Michael did a great job showing us around the area, giving us entertaining insights on the “true crime” aspects of Shakespeare’s life. It also included some tucked-away historical sites and other gems we would not have stumbled upon otherwise. An afternoon well spent! Read more Written 15 March 2024

More to explore in London

Most Recent: Reviews ordered by most recent publish date in descending order.

Detailed Reviews: Reviews ordered by recency and descriptiveness of user-identified themes such as waiting time, length of visit, general tips, and location information.

Shakespeare's Globe Guided Tours with Optional Shakespearean Afternoon Tea provided by Shakespeare's Globe Theatre

LondonTheatre1

London Theatre: Tickets | Reviews | News | West End | UK Touring Productions

Julius Caesar at Shakespeare’s Globe Theatre

May 13, 2022 Last updated: May 13, 2022 1:58 pm By Terry Eastham

“ All political lives, unless they are cut off in midstream at a happy juncture, end in failure, because that is the nature of politics and of human affairs. ” A statement that is as true today as when it was first uttered in 1977. In fact it was true back when William Shakespeare wrote about a Roman general, statesman and member of the First Triumvirate, whose political life ended in death and dishonour. The play was Julius Caesar , and I had the opportunity to see it recently at the Globe Theatre.

In ancient Rome, the people are celebrating the triumphant return of Julius Caesar (Dickon Tyrrell) from defeating Pompey. The city has made it into a holiday, much to the annoyance of the tribunes Flavius and Murellus (Cash Holland) along with others of the Patrician class, and some members of the Senate who fear Caesar may just be getting too big for his boots – as they used to say in Roman times. There is one other who is worried about Caesar’s celebrations, though for a different reason, an old soothsayer (Omar Bynon) who warns Caesar to “ Beware the Ides of March “. Away from the parade and staged events, senator Gaius Cassius Longinus (Charlotte Bate) is plotting to remove Julius before he becomes too powerful. She needs an ally and approaches Marcus Junius Brutus (Anna Crichlow), a known friend of Caesar to rope her into the plot to assassinate the dictator of Rome. The two of them are troubled when they hear that Mark Antony (Samuel Oatley) has three times offered a crown to Julius who has turned it away – each time seemingly more reluctantly.

Worried by this display of monarchical and autocratic behaviour, Cassius and Brutus amass a group of senators, including Publius Servilius Casca (Jack Myers) and they formulate a plan to kill Caesar when he next visits the Senate. On the morning of March 15th (the ides), Caesar ignores the warning of the soothsayer and of his own wife Calpurnia (Amie Francis) and sets off to the Capitolium to see what the Gods have in store for him.

One of the marvellous things about Shakespeare’s Julius Caesar is its timelessness. Set in ancient Rome, the story of behind-the-scenes political manoeuvring to remove a leader is as relevant today as when the play was first performed in 1599. Just look at this description of Julius Caesar and see how easily it fits in with some of the current world leaders – “ Julius Caesar is seen as the main example of Caesarism, a form of political rule led by a charismatic strongman whose rule is based upon a cult of personality, ” Remind you of anyone? The play also demonstrates how one well written and delivered speech can move a nation to action, Something a Mr W Churchill made full use of in the 1940s.

This version has been set – according to the programme – in an alternate modern society – and Designer Khadija Raza reflects that in the costumes which are a mix of traditional and modern militaristic – particularly in Act II. However, this did cause me some minor issues with cast members playing multiple roles basically in the same uniform, which identified them as Team Brutus/Cassius or Team Octavius/Antony but without necessarily identifying them until a name was mentioned. However, that is a minor gripe in an otherwise excellent production of the play. Director Diane Page, along with Fight Directors Rachel Bown-Williams and Ruth Cooper-Brown, makes full and effective use of the Globe’s set but also the groundlings’ area, making them and the rest of us a part of the action. I’m not giving anything away when I say that Julius is murdered, and the scene is very realistically played out with the audience being very involved in the bloody demise of Caesar.

Of course, one of the major selling points of the show is the amazing oratory and I absolutely loved Samuel Oatley’s performance as Antony. Initially a bare-chested, beer-swilling, good-time guy, Oatley takes Antony to a new plane following Caesar’s death. Racked with grief at the end of Act I, he totally dominates Act II as his ‘ Friends, Romans, Countrymen ’ speech at Caesar’s funeral totally eviscerates Brutus et al. The use of the word ‘honourable’ throughout is perfectly pitched in the writing and Oatley manages to put the right amount of spite and hate in his delivery to turn the crowd against the conspirators The gender-swapped casting of Brutus and Cassius worked well not only in creating a powerful dynamic between these characters but also in raising a voice to women in the Roman world. Citizens but not allowed to vote, having them in positions of power in this production makes you reflect on the various women who would have been involved in the plot and its aftermath. For example, do you know who Fulvia was? I didn’t until I read the extremely informative programme and realised her significance in Antony’s actions.

Overall, Julius Caesar worked for me. There is a lot of humour in the script, and I do think at times various elements were unnecessarily played for laughs which was a bit of a distraction but on the whole, this production reinforced the greatness of Shakespeare’s works and how, even more than four hundred years after they were written their relevance to the modern world has never diminished. After its stint at the Globe, this production of Julius Caesar is going on tour taking in eighteen venues around the country between now and September, and so I say to you – with apologies to the Bard – Folks, theatregoers, Joe/Jane public; lend them your feet and go to see Caesar in all their glory.

Review by Terry Eastham

Conspiracy to kill, public broadcast of cunning rhetoric, a divisive fight for Greatness. Ancient Rome has never felt closer to home.

When Cassius and Brutus decide Rome’s leader Julius Caesar poses a political threat to their beloved country, there’s only one solution.

Diane Page, winner of the 2021 JMK Award, brings Shakespeare’s brutal tale of ambition, incursion, and revolution to life in the Globe and on tour across the UK.

CAST Charlotte Bate – CASSIUS Omar Bynon – DECIUS / SOOTHSAYER Anna Crichlow – BRUTUS Amie Francis – CALPURNIA Cash Holland – PORTIA / MURELLUS Jack Myers – CASCA / OCTAVIUS Samuel Oatley – MARK ANTONY Dickon Tyrrell – JULIUS CAESAR

CREATIVES Assistant Director – Indiana Lown Collins Casting – Becky Paris Choreographer – Asha Jennings-Grant Composer – Simon Slater Costume Supervisor – Sian Harris Designer – Khadija Raza Director – Diane Page Dramaturg – Jesse Haughton-Shaw Fight Director – Rachel Bown-Williams Fight Director – Ruth Cooper-Brown Globe Associate – Movement – Glynn MacDonald Globe Associate – Text – Christine Schmidle Voice – Emma Woodvine

14 MAY – 10 SEPTEMBER 2022

Stage and Cinema

Arts and Entertainment Reviews

Tour Review: THE MERCHANT OF VENICE (Shakespeare’s Globe)

by Lawrence Bommer on August 7, 2016

in Theater-Chicago , Tours

THE GLOBE’S STUNNING PRODUCTION HIGHLIGHTS SHAKESPEARE’S PLEA FOR DIGNITY AS MUCH AS MERCY

A decade ago a Chicago critic notoriously concluded his review of The Merchant of Venice by offering a rather perverse take on Shakespeare’s supposedly anti-Semitic play. In a case of devil’s advocacy he argued that Shylock’s punishment (for trying to cancel a debt by killing the bondsman Antonio)–losing half his wealth and abandoning his Jewish religion to become a baptized Christian—actually did the moneylender a favor. Shylock was now inducted into the very club that had previously persecuted him. If you can’t beat them, join them.

It’s useless to argue that reviewer’s preposterous point. But if you had any doubt that Shylock’s fate was a cruel sentence, not a redemption or reward, it’s in the final (added) scene in Shakespeare’s Globe’s 170-minute touring production. (This marks the esteemed company’s third appearance at Chicago Shakespeare Theater on Navy Pier.) Surrounded with, or engulfed by, magnificent ecclesiastical trappings, Jonathan Pryce’s pitiful Shylock, agonizing over this forced betrayal, is reluctantly converted, splashed with holy water as if acid had been thrown in his face. It’s a humiliation worse than death.

In a too-limited engagement that ends August 14, Jonathan Munby’s superb staging gets everything right, beginning with Mike Britton’s monumentally painterly set design. Gorgeously attired in costumes worthy of Veronese, this unimprovable 17-member ensemble knows, collectively and individually, exactly what they’re saying, why, when, and to whom, all but conveying every subtext, nuance and emotion that the Bard intended. Seldom has the look so splendidly fit the sound and both served the sense and psychology of a play that can easily blow up in an audience’s face.

It’s a dangerous undertaking because, like Taming of the Shrew , The Merchant of Venice is a creature of its time as much as its author. Because of the former, it teems with Christian arrogance: The play praises the title character Antonio (Dominic Mafam) for his (homoerotic) devotion to his friend Bassanio but not Shylock’s love for his daughter. It condemns the usurer Shylock for proving as shrewd a businessman as any trader on the Rialto but, alas, doing it while wearing a red skull cap. But because of this particular playwright, there’s humanity to spare. We feel as much as hear how Antonio and his racially-profiling pals have bullied, spat on, reviled and denounced Shylock. Seldom has a supposed villain had more motivation for his palpably defensive revenge.

Shylock has already lost his beloved Leah. Before the pitiless play is over his daughter Jessica (richly played by Pryce’s daughter Phoebe) is stolen away by handsome Lorenzo (the appropriately named Andy Apollo). All it takes is one more nemesis: Overconfident that Venice’s business-minded law is not as prejudiced as the citizens, Shylock meets his match in Portia (marvelous Rachel Pickup): Bassanio’s new wife, disguised as a young attorney, makes a dynamic difference in creditor Shylock’s showdown with his doomed debtor. (Bassanio had already “won” Portia in the fairy tale-like contest of the caskets, correctly guessing her worth as her late father had intended.)

If anything, as if to contradict his own Taming of the Shrew , Shakespeare makes Portia a proto-feminist heroine: She must conceal her sex to prove her absolute mastery of a case of life-and death litigation. Imagine, as Virginia Woolf did about Shakespeare’s sister, what Portia could have accomplished if she had become an actual attorney in her own right!–“I’m with her.”

There are so many stories in this dark comedy—the clumsy clowning of the servant Lancelot Gobbo (Stefan Adegbola), the raillery of Jew-baiting Gratiano (Dan Fredenburgh), the patient courtship of the worthy Bassanio (Michael Hadley), the teasing of the wives over their husbands’ lost wedding rings.

But the genius of Munby’s staging is to actually improve on Shakespeare. His new and mute ending makes clear that Merchant is a very conditional comedy. Shakespeare, of course, ends it with the reconciliation of two couples: Mistaken identities are sorted out and two tested marriages get a timely repair. But Munby knows that an audience can’t forget Shylock’s suffering that easily. Like the sexual conversion therapy inflicted on the homosexual Alan Turing, Munby depicts in detail the Doge’s unfeeling sentence: A foreign faith is forced on an improbably martyred Shylock, his baptism resembling a burning at the stake. Jessica, guilty with her own betrayal, can only look at her father’s shaming with more than remorse.

As engaging as Pickup proves in her incandescent “quality of mercy” speech, at the heart of this urgent and moving revival is Jonathan Pryce’s achingly human Shylock. Not calmly cold or pleadingly humble (as in past performances of this treacherous role), Pryce delivers his “If you prick us, do we not bleed?” tirade with impulsive fury. It’s clear his desire to take a pound of flesh to quit the debt is an uncalculated act of self-protection, payback for enduring a lifetime of hate crimes. A seemingly one-sided drama is instantly balanced by invoking an audience’s craving for fairness as much as pity. Shakespeare and his rapt audiences deserve no less.

photos © Manuel Harlan

The Merchant of Venice Chicago Shakespeare Theater Courtyard Theater on Navy Pier ends on August 14, 2016 for tickets, call 312.595.5600 or visit  Chicago Shakes global tour continues through October 21, 2016 for dates and cities, visit Merchant

Share this post:

Leave a Comment

• Art and Museums
• Concerts / Events
• Theater-Boston
• Theater-Chicago
• Theater-D.C.
• Theater-International
• Theater-Las Vegas
• Theater-Los Angeles
• Theater-New York
• Theater-Palm Springs (Coachella Valley)
• Theater-Regional
• Theater-San Diego
• Theater-San Francisco / Bay Area
• Privacy Statement

Search reviews by title or key words.

Please help keep stage and cinema going, while we assert that it’s time to rethink the existence of facebook, here’s our page, casino reviews betsquare.

Review: A MIDSUMMER NIGHT'S DREAM, Shakespeare's Globe

Michelle Terry gets to grips with the mischievous Puck in this new production of the Shakespeare classic

This time it is directed by Elle While, and features a majority female cast – the company includes Globe Associate Artists Jack Laskey and Tanika Yearwood , as well as Terry herself.

Though it’s understandable that the Globe might want to err on the side of caution as far as programming is concerned – choosing the more popular plays to guarantee ticket sales as it continues to recover from the effects of the pandemic – I’d argue that they are in the unique position of being able to stage nearly any of Shakespeare’s works and still draw in the crowds, due to historic status and tourist value. Given that there are over 30 plays to choose from, the usual suspects shouldn’t be cropping up again and again – at least not in the same performance space.

Elle While’s production does at least experiment with the very familiar play, such as adding their own brief prologue and also using some different multi-roling options.

The prologue focuses on the changeling boy who is adopted by Titania (and coveted by Oberon); it was inspired by the overwhelmingly female company, and the fact that babies and young children were frequent visitors to the rehearsal room. It’s certainly something to think about, as the conflict over this orphan is what tears Oberon and Titania apart, leading them to interfere with the other characters in the play, and yet… for me, it doesn’t really seep into the heart of the play and fully justify its presence.

It is a shame that the usual Theseus/Oberon and Hippolyta/Titania casting decision wasn’t taken, as it would have been wonderful to see Anne Odeke bring her energy and verve to both roles, and see how she contrasted the two. The Fairy King and Queen’s encounter in act 2 scene 1 confirms that they are intimately acquainted with Hippolyta and Theseus, respectively, so why not go the whole hog and cast separate actors in both male roles? It could simply have been a logistical choice rather than a creative one, of course, but then that doesn’t really fit with the ethos of the production.

Choosing to present a jolly old Theseus and a jocular, occasionally bumbling, Hippolyta is a little jarring in the current context: most recent productions have interpreted the text to show him as tyrant and her as captive, with them generally falling into some kind of accord by the end of the play. It is interesting to see this relationship as the light relief, as those of the young lovers tread into the darker realms and have a slightly more uneasy resolution.

Fascinatingly, Bottom ( Mariah Gale hilariously drawing on Hyacinth Bucket in her characterisation) has the most compelling arc in this production: she begins as a pompous ass, all but becomes an actual ass, and then shows some signs of growth towards the end as she thinks on what might have been with Titania.

What is most impressive, for me, is the costume design; takis has created a visually arresting parade of outfits that straddle typical Elizabethan fare and high fashion. Much of the colour palette is suggestive of the forest, with browns and greens on show, but the group of lovers particularly stand out in their bold blues, oranges, and pinks – it sets them apart from the natural world that they intrude upon in their quarrel. It’s just a shame that they aren’t given time to undo the damage done by the roughness of the forest when they return to ‘civilisation’ at the end, instead heading to the festivities in a slightly bedraggled state.

Puck is perhaps the most well-known character in A Midsummer Night’s Dream , and flits between the different storylines, making mischief along the way; this may have been what enticed Michelle Terry to the role, however it’s not her most memorable performance to date. It’s not that she’s not suited for comedy, as she has proven her comic credentials in the past, but it often feels like she is trying too hard to be wacky and it doesn’t always land.

Francesca Mills was an inspired piece of casting in the role of Hermia, as she is not only exceptionally funny, but it also means that Demetrius and Lysander’s insults about her height have a real sting; Mills’ Hermia is tough and ready to take on the world, but you can tell she is truly hurt by those comments. Opposite her, Vinnie Heaven’s comically try-hard, wannabe-macho Demetrius also provides some laughs – though, as ever, it makes you wonder what Helena sees in him.

As far as I’m concerned, however, it’s Mariah Gale who is the star of the show as “prolouge”-inventing Nicola Bottom. She manages to remain likeable in spite of Bottom’s self-importance, which means we are with her all the way when her dreamy evening is ripped away from her. Gale’s physicality and commitment to Bottom’s donkey state is incredible, her hiccups turning to brays and her limbs attempting a gallop; it’s the comic highlight of the show by far.

Admittedly not a vintage production of this particular play, there are still plenty of moments to enjoy and I applaud the Globe’s creative teams for continuing to be inventive; there are many who would prefer this theatre to only put on ‘traditional’ productions, but I, for one, am wholeheartedly against that. Sometimes experiments work, sometimes they don’t – but it’s always worth a try.

A Midsummer Night’s Dream runs at Shakespeare’s Globe until 12 August

Photo credit: Helen Murray

TICKET CENTRAL

Recommended For You

Search form

Hamlet, Shakespeare's Globe review - melancholy mash-up lacks chemistry | reviews, news & interviews

Hamlet, shakespeare's globe review - melancholy mash-up lacks chemistry, scattergun subversion is undermined by psychological miscalculations.

Hamlet isn’t often played for laughs. When David Tennant took the comedic approach in the RSC’s 2008 production, it was testament to his mercurial genius that his performance brilliantly conveyed the manic grief of a young man whose world was disintegrating around him.

In Sean Holmes’s new production , by contrast, the humour is used not just to shed light on Hamlet’s psychological state, but as a wrecking ball for every preconception about how the text should be played. The result veers between inspired anarchy and a mire of nihilism.

George Fouracres – one third of the Daphne comedy trio – at first evokes a Black Country Ricky Gervais as he plays the title role with a shoulder-shrugging cynicism. After a ghost scene in the pitch-black we watch Claudius and Gertrude dancing to "It Must Have Been Moonglow" before Fouracres delivers his first soliloquy through a window at the top of the auditorium. This is mash-up melancholy; while some of the costumes are ebulliently 17th century, others are 21st century inner-city. As Fouracres goes into psychotic meltdown over the course of the evening, the polite pastel-grey backdrop with its ornamental pool becomes plastered with graffiti.

It says everything about Holmes’s approach that while some of the performances are revelatory others are backed into a corner. One of the production highlights is John Lightbody’s Polonius ( pictured below ), who brings real swagger to his pedantry with his flowing hair and silver breeches. He’s compelling because he shows that his control freakery is powered by love; after he questions Ophelia about her relationship with Hamlet, he dots her on the nose with his index finger. There’s rich comedy, too, to his compulsion for scene-stealing, which transforms into dark tragedy when Fouracres turns his “accidental” stabbing into a brutal and drawn-out murder.

One of the running jokes is that the spirit of Morrissey pervades this Hamlet – the soundtrack includes two Smiths songs, "I Know It’s Over" and "Bigmouth Strikes Again". Yet while some of the play’s anarchic reinvention works, the dynamic is utterly skewed by making Hamlet himself so perpetually dismissive of Rachel Hannah Clarke’s initially ebullient Ophelia. Fouracres has huge presence and is obviously a star in the making, but his performance is considerably weakened by the fact that it’s impossible to see that there might have been a connection with Ophelia even before his father died. Clarke obviously has oomph as a performer and in the 21st century it makes no sense to place her so clearly on the emotional sidelines.

It’s miscalculations like this that make this a production not so much of two halves as three thirds. The first third is about gleeful vandalism of the text. The second third really capitalises on the energy released by that and is enhanced by strong performances. Yet in the final third there’s just not enough psychological coherence to give it emotional heft.

If there’s a scene that benefits from this scattergun subversion, it’s the gravedigger scene in which musician and composer Ed Gaughan gleefully improvises a large chunk of the monologue by riffing on ITV’s The Chase . I also suspect it’s fair to say that unless you hang out in very curious circles you’ll never have seen a skull and femur used in this way before.

Yet overall this is a patchy affair that takes the torch to the Bard without illuminating all that much. Holmes has an impressive record but for all its interesting experimentation his Hamlet never attains the chemistry that marks a truly great production.

• Hamlet at Shakespeare's Globe until April 9
• More theatre reviews on theartsdesk

Related Articles

• Hamlet, Harold Pinter Theatre review - dislocatingly fresh makeover
• As You Like It / Hamlet, Shakespeare’s Globe review - ensemble emphasis sets a leaner style
• Globe to Globe: Hamlet, Shakespeare's Globe
• 'Hamlet’s actors are kings of infinite space'
• Dr Semmelweis, Bristol Old Vic review - dazzling but overloaded

Explore topics

• Shakespeare

Share this article

For me the 2022 production of, add comment.

More information about text formats

Filtered HTML

• Web page addresses and e-mail addresses turn into links automatically.

more Theatre

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters

Doormat Navigation

• See our complete archive
• privacy and cookies

• In London or across the UK
• at Edinburgh Fringe
• List Your Show
• Advertising
• Ballet & Dance

• Off-West End
• Regional & Tours
• Digital Theatre
• Join us as a Reviewer

Ralph Davis George Fouracres and Ciaran OBrien in The Tempest at Shakespeares Globe credit Marc Brenner

Review: The Tempest at Shakespeare’s Globe

"it’s certainly a refreshingly contemporary take, but it fails to follow through with its concept".

If you are dreading the thought of Love Island ending, the Globe has you covered with The Tempest . Director Sean Holmes’ vision of Prospero’s Island is more a tacky holiday resort adorned in plastic kitsch than a phantasmagorical dreamscape. It would be very much at home on ITV2. Think rubber palm trees and inflatable lilos rather than sorcery and spells.

His production is sadly not quite what dreams are made of. Its individual elements are intriguing but there is no theatrical glue to piece together an overarching vision. The end result is admittedly fun but too episodic to be memorable.

Holmes’ production is less focused on a critique of colonisation and empire, but neo-colonialism and the sprawl of globalisation. The foreign invaders are armed with plastic bottles rather than guns, leaving a trail of pollution in their wake. All the fantasy is muted and dialled down: Caliban is not a demonic savage but a scruffy staff member at the resort adorned in an ill-fitting Hawaiian shirt. Rachel Hannah Clark’s obsequious Ariel is not a fairy like being but a Las Vegas style rhinestone cowboy. Prospero himself wields an anaemic looking stick, more a tree branch than a magical staff.

It’s certainly a refreshingly contemporary take, but it fails to follow through with its concept. There is no overarching image to act as an aesthetic nexus; the conceptual dots are never connected. It is a shame because individual aspects are undeniably worth our attention.

Take the shipwrecked Alonso and co. who are cast as pinstripe clad yuppies fresh out of JP Morgan’s board room. Are they neo-liberal capitalists prioritising profit over the planet? Or are they simply strangers in a foreign land? The production gives us no concrete answers. And what do they have to do with Trincolo and Stefano dressing up as Harry Potter characters? The mismatching imagery saps the climax of its heartfelt poignancy; we have the puzzle pieces, it’s just that none of them fit together to give a satisfying conclusion.

You might also like

Cast announced for Much Ado About Nothing at Shakespeare’s Globe

Shakespeare’s Globe Announces Summer Season 2024

Fortunately, there are enough buoyant performances to save The Tempest from drowning at sea. Ferdy Robert’s Prospero channels Ray Winstone in Sexy Beast down to the skimpy yellow swimming trunks. His geezer like mannerisms are manic and skittish, yet he draws the space together with enchanting electricity. Olivier Huband and Nadi Kemp-Safi as lovers Ferdinand and Miranda have fiery chemistry even if they are occasionally static.

George Fouracres’ Stefano and Ralph Davis’ Trincolo are lovably obnoxious lads on tour. Their sunglasses are on and their bellies are out. The more they booze the more they ooze boyish chutzpah with Davis even shouting up to a passing plane “Help I’m down here!” They are shipwrecked after all.

The Tempest certainly has the right ingredients for a frosty summer cocktail, it just seems to have lost the cookbook with the right recipe.

Alexander Cohen

Alexander is a theatre and opera critic based in London.

Related Articles

Shakespeare’s Globe Announces Cast of The Duchess of Malfi

Shakespeare’s Globe announces cast of Othello

• Join Our Community
• Privacy Policy
• Cookie Policy
• Terms and Conditions

Recent News

Original Theatre’s Murder in the Dark to Stream on Original Online

First Look: Between The Lines at New Diorama Theatre in Rehearsal

© 2022 Theatre Weekly

• Off West End
• Regional & Tours

Shakespeare's Globe

Welcome to shakespeare’s globe.

DISCOVER WHAT’S ON

MAY HALF TERM

Storytelling: A Midsummer Night's Dream

Macbeth: 5 – 8 years Family Workshop

Family Workshop: Romeo and Juliet 9-12 years

On Stage Workshop: Macbeth 12+ years

On Stage Workshop: Othello (14+ Years)

Much Ado About Nothing: GCSE Study Boost

Young Actors Short Course (11-13 years)

Shakespeare’s Globe Story & Tour

Summer 2024.

With brand-new Shakespeare productions, a supernaturally silly family show, an extraordinary new play, plus our programme of visiting artists, conversation, discussion and debate, this summer promises something for everyone.

Much Ado About Nothing

Richard III

The Taming of the Shrew

Rough Magic

Antony & Cleopatra

The Comedy of Errors

Princess Essex

Get involved, young people, the globe talks.

Browse What’s On

LATEST BLOGS

Explore fascinating, vital and personal stories from Shakespeare’s Globe

Othello and the Ottomans

Playing shakespeare with deutsche bank: a romeo and juliet for 2024, steven carter-bailey | gingerbread recipe, also at shakespeare's globe.

 Access provisions for Deaf, disabled and neurodivergent people

Explore Shakespeare and the Globe

GLOBE PLAYER

Stream Shakespeare plays online

Online teaching resources, courses & workshops for all ages

Treat thyself and visit our online and on-site shops

There are many ways to get involved and support our cause

DON’T MISS A THING

Sign up to stay in the know about the latest shows, news and updates from Shakespeare’s Globe.

We use cookies to ensure you get the best experience from our website.

Carry on browsing if you're happy with this, or find out how to manage cookies .