Mercutio played by Golda Rosheuvel
Romeo and Juliet (2017)
Written by: William Shakespeare
Golda trained at London Studio Centre.
Previous work for Shakespeare’s Globe includes: The Frontline and Romeo and Juliet.
Other theatre includes: A Pacifist’s Guide to the War on Cancer, Wonder.land, The Curious Incident of the Dog in the Night Time (National Theatre); Electra, Carmen Jones (Old Vic); Macbeth, Porgy and Bess (Regent’s Park Open Air Theatre); The White Devil (Menier Chocolate Factory); Angels in America (Headlong Theatre Company); Marat/Sade, The Tempest, Julius Caesar, Antony and Cleopatra (RSC); We Will Rock You (Dominion Theatre); Jesus Christ Superstar (Really Useful); Hair (The Gate), and Tommy (Shaftesbury Theatre).
Film includes: Lady Macbeth, I Remember You, and You’ll Regret It.
Television includes: Dead Boss, Luther, Silent Witness, Torchwood, Casualty, EastEnders, Mr Stink, Holby City, Consuming Passion, 100 Years of Mills and Boon, Coronation Street, I Live with Models, Damned, and Rev.
Golda Rosheuvel featured as part of the Adopt an Actor interview series for this production.
"So it was pouring with rain on one of those days. The grave that we have at the front of the stage has a kind of a foam floor. And obviously, foam does not soak up the wet. I hit the roses in the graveyard, 'Where the devil should this Romeo be? That pale, hard hearted Rosa-'. And the bat slipped out of my hand and flew up to the Balcony!"
Hitting a home run as performances end, Golda shares some audience moments, their reactions, and the actors' reactions when something goes wrong!
"Jon hands me a blood-bag out of sight of the audience. He actually give it to me on, 'I am peppered for this world, I warrant'. And then on 'Why the devil came you between us?' I reveal my hand that has the blood. And sometimes you can hear the audience gasp, which is really great because we’ve done the reveal really well!"
Golda takes us through what goes into staging a scene at the Globe, including the blood bags and bangs in Act 3, Scene 1.
"The Midnight Matinee felt different. Performing all of my scenes in the first act, because obviously I'm only in the first act! And usually, it's never in the dark. It felt more mysterious...there was this other-worldliness, this darkness and the other world to play with..."
As the final week of performances draw to a close, Golda looks back at the Midnight Matinee and the magic of the Globe.
"Benvolio and I like playing, and we have come up with a little rap. It just came one time, I just started riffing, this thing. And Johnathan was like, 'Yes!' I knew there was something there, but it was like just trying to puzzle it out and it was just, 'Boom! That's it!'"
Taking us through her favourite moments so far, Golda talks about pre-show rituals, Graveyard Drinking, and raps.
"Daniel is very, very interested in specific tunes, specific dynamics of music. I know that he researches all the music and has his own journey in preparing for a show. Six months, eight months before we started, maybe even a year, I knew that that song at the end was going to be in the show..."
As the first month of performances draws to a close, Golda looks back to the origins of the show, thinks about a favourite moment from the week, and looks forward to the Midnight Matinee.
"I think the audiences that come here aren’t like normal audiences, so they’re already up for an experience because it is an ‘experienced’ space where you experience story-telling. For me as an actress, it is comfortable to play because we’re all in this wonderful wooden ‘O’ and it’s ‘O’ so joyous to play and ‘O’ so exciting that we’re all in it together!"
With performances underway, Golda reflects on opening night, performing in this 'wooden O', and audiences stepping outside of their comfort zone.
"We went into the Globe at the end of the first week and it's just like coming home. I love this space, I've always described it as a teaching space for the actor, because it's alive. It's breathing, not only when the audience is in there. It's busy, it's working..."
Reflecting on the first few weeks of rehearsals, Golda takes us through the world of the play, its relevance today, and the magic of the space.
"You need to come in with stamina. It's very focused on playing and going deeper. Pushing the absurd, pushing your clown, your child, pushing your vulnerabilities. 'Play', 'play', 'play' is a big word in his room!"
Golda gives us a behind the scenes glimpse into Daniel Kramer's rehearsal room, and reveals how she's approaching the infamous Queen Mab speech.
"It's a real investigation about her sexuality. As three men, it's okay to have that sexual banter, you know? It's okay for men to do that in our society...'Locker room talk'. It's different when it's a woman; it becomes something else when it's a woman..."
As she continues to explore Mercutio in the rehearsal room, Golda discusses what changes and what stays the same when characters are cross-gender cast.
"I did Romeo and Juliet here, way back when and I played Lady Capulet. Now, I'm playing a totally different part: Mercutio. And I will be playing Mercutio as a female. None of this pretending to be male! She will be a girl amongst those three, the gang: Romeo, Benvolio and Mercutio."
As rehearsals start, Golda talks about her previous experience with Romeo and Juliet, how this feeds into this production, and returning to the Globe.