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Shakespeare's Globe



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The Frontline (2008)

Playwright: Ché Walker
Directed by: Matthew Dunster

God, strip bars, weed, crack, lost old men, unemployed actors and vegans all collide in a riptide of chaos on the streets of London.

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The Globe Mysteries (2011)

Playwright: Tony Harrison
Directed by: Deborah Bruce

The Globe Mysteries celebrate the spirit of medieval street theatre and take a fresh and contemporary look at The Mystery Plays as one of the most important influences on theatre.

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The God Of Soho (2011)

Playwright: Chris Hannan
Directed by: Raz Shaw

As bracingly modern as Che Walker’s The Frontline, which thrilled Globe audiences in 2008 and 2009, The God of Soho is not for the faint-hearted. Bursting with dirty language and filthy content.

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The Golden Ass (2002)

Playwright: Peter Oswald
Directed by: Tim Carroll

Based on the story that C.S. Lewis called ‘a strange compound of picaresque novel, horror comic, mystagogue’s tract, pornography and stylistic experiment.’

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The Heresy of Love (2015)

Playwright: Helen Edmundson
Directed by: John Dove

Inspired by the life of Sor Juana Inés de la Cruz, writer of The House of Desires, The Heresy of Love uses all the devices of Spanish Golden Age Theatre – intrigue and danger, passion and politics, comedy and tragedy – in this clash between organised religion and personal faith.

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The Honest Whore (1998)

Playwright: Thomas Dekker (with Thomas Middleton)
Directed by: Jack Shepherd

The Honest Whore was written in two parts and the total running time was somewhere in the region of seven hours! In this version, Mark Rylance and Jack Shepherd have conflated the plays into one.

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The Inn at Lydda (2016)

Playwright: John Wolfson
Directed by: Andy Jordan

Mortally ill, Tiberius is devastated – but his world is soon turned on its head when he has the most remarkable meeting...

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The Knight of the Burning Pestle (2014)

Playwright: Francis Beaumont
Directed by: Adele Thomas

Combining salty colloquial prose with charming songs, The Knight of the Burning Pestle was one of the first madcap, mash-up, screwball comedies to hit the English stage and the first to run not one but two plays within-the-play simultaneously.

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