Shakespeare's Globe

Isabella played by Mariah Gale

Measure for Measure (2015)
Written by: William Shakespeare

Mariah returns to the Globe to play Isabella in the 2015 production of Measure for Measure.

Mariah trained at the Guildhall School of Music and Drama.

Previous work for Shakespeare’s Globe includes: Much Ado About Nothing (2004).

Other theatre includes: Three Sisters (Young Vic); Proof (Menier Chocolate Factory); Cat on a Hot Tin Roof (Northampton/Royal Exchange, Manchester); Gruesome Playground Injuries (Gate Theatre); The Pitchfork Disney (Arcola); The Sea (Theatre Royal Haymarket); Vernon God Little (Young Vic); Morte D’Arthur, Romeo and Juliet, As You Like It, The Comedy of Errors, Hamlet, Love’s Labour’s Lost, Antony & Cleopatra, Julius Caesar, The Tempest (RSC); ’Tis Pity She’s a Whore (Southwark Playhouse); Musik (Oxford Stage Company); Twelfth Night (Open Air Theatre, Regent’s Park); The Lost Child (Chichester Festival Theatre) and Stealing Sweets and Punching People (Latchmere Theatre).

Film includes: Hercules 3D, Hamlet (RSC) and Abraham’s Point.

Television includes: The Hollow Crown, New Tricks, Death Comes to Pemberley, Frankie, Anne Frank, Oliver Twist and Skins

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Performance 4

"Something that I find really incredible about her is just this incredible good grace. I think if I could live with even an eighth of that, it would really change your life. She has this incredible ability to see the good in everyone, and to give people the benefit of the doubt, and to always try to eke out the light in them, not the darkness."

In the second part of her final interview, Mariah talks about Outside In performances in the Sam Wanamaker Playhouse, Elbow's roly-polys and how inspiring she has found the character of Isabella.

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Performance 3

"We go and see all of these grim plays, and then you kind of get dumped in the rubbish bin at the end, and there's no answers, and I just really love the jig for the fact that there is hope. And audiences seem to really respond to that. I've gradually realised more and more the importance of it, as we've gone on."

In the first part of her final interview, Mariah talks about working in rep, returning to the show after a month off, and the joy of the jig.

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Performance 2

"I think that the designer's been brilliant there, and it's very beautifully thought about, that the whole point of this order - the ‘Poor Clares’ - is that you renounce all of your worldly possessions. And in that way I think the costume's brilliant, as soon as I tried it on I thought, 'This it is, this is perfect.'"

In the second part of her third interview, Mariah talks about advice from drama school, the music, her costume, and the assumptions people make about certain characters.

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Performance 1

"What's really interesting when you get into performances is different actors' rituals, and it's so interesting that people can say they're not superstitious, but you meet the same person by the water cooler, at a certain time, in a certain scene. You get into a rhythm."

In the first part of her third interview Mariah talks tech week and timekeeping, rituals and rhythms, and the energy and elation that comes with live audiences.

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Rehearsals 2

“I think Isabella has her times when she comes unstuck and goes ‘oh my god I’ve made a terrible mistake’. It’s a really horrendous situation that she gets put in, but let’s not forget who put her there. I’m kind of like ‘woah woah woah why are people so condemning of her decision?’ What about the person who set up the decision in the first place?”

In her second interview Mariah talks through what's been happening in rehearsals so far, meeting a friar and working through the text.

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Early Rehearsal: Part One

“I feel that the audience, our audience, has changed over time and I'm really curious about our attitudes towards the play and towards particular characters within the play. I'm just really intrigued because the play seems to spark so much controversy and controversy is a wonderful thing.”

In her first interview, Mariah talks about her initial impressions of the play and of visiting a convent as part of her initial research.

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Early Rehearsal: Part Two

“I think I’ve opened up a Pandora’s box of questions, of deep questions. And at the moment that describes the play to me and the state that I’m in with the play. It’s just like I’ve opened the box and I’ve gone ‘Oh my God!’”

In her part two of her first interview, Mariah discusses developing the relationships in the play and working through the language of the play.

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