Cymbeline played by Joseph Marcell
Written by: William Shakespeare
Joseph Marcell returns to the Globe to play Cymbeline, King of Britain.
Previous work for Shakespeare’s Globe includes: Omeros, King Lear, Much Ado About Nothing, Coriolanus and Under the Black Flag.
Other theatre includes: A Freeman of Colour (Lincoln Centre); Inherit the Wind, King Lear, As You Like It, The Taming of the Shrew (Old Globe, San Diego); Romeo and Juliet (Shakespeare Theatre, D.C); Antony and Cleopatra, Julius Caesar, Our Friends in the North, Peter Pan, The Great White Hope (RSC); As You Like It (Folger Theatre, D.C); Gem of the Ocean (Tricycle/Arena Stage, USA); Othello (Lyric Theatre/Arts Theatre); Breakfast with Mugabe (Ustinov, Bath); Radio Golf, Let There Be Love, Walk Hard Talk Loud, King Hedley II, Joe Turner’s Come & Gone (Tricyle); Hamlet (Basingstoke); Master Harold and the Boys, Peer Gynt (National Theatre); Sherlock Holmes (Broadway); Romeo and Juliet (Shakespeare Co. USA) and Seniors (Hudson LA).
Film includes: Cry Freedom, Sioux City, A Beautiful Life, We Three, Playing Away and Hero.
Television includes: The Bold and the Beautiful, Jericho, The Fresh Prince of Belair, Brothers and Sisters, Madmen and Specialists, EastEnders, End of the Line, Empire Road, In the House, Frost and Living Single.
"I never leave the stage. I never leave backstage. I sit backstage through the first half, I sit backstage through the second half. I never go up to my dressing room."
In his fourth interview, Joseph talks about staying in character, what he's learned about Cymebline, and his favourite moments from the show thus far.
"We had certain expectations and we were warned about certain things: what would happen, reactions and stuff. But that kind of unselfconscious love that came from the audience was just wonderful and it's been that way ever since."
In his third interview, Joseph talks to us about audiences' reactions to the play, its comedic potential, and the hazards of jigs and making too much eye contact.
"You have a man who is indecisive for two thirds of the play, and events change him. And he begins to change, he becomes more decisive."
In his second interview, Joseph discusses the journey of Cymbeline, barbarity in the play, and the curse of props.
"There are amazing images, lots of half lines, the line endings require a kind of punch that you forget about, that you kind of take for granted. It's a pretty good play, it's a pretty good play."
In his first interview, Joseph talks about the language of Cymbeline, physical preparation, and the relationships at the heart of the play.