Shakespeare's Globe

RSS At The Globe

Hamlet is back at the Globe! Jade talks about adaptions they have made to their production in order to make it more effective in the Globe space, including the use of the stage balcony during Ophelia's funeral.

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Time: 5 minutes, 34 seconds

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Transcript of Podcast

Hayley Bartley:

Ok, so on to the Globe. We are now at the Globe. How are you finding this venue?

Jade Anouka:

I love it! I love it so much because it’s so scary initially, which is great, I mean I love that, it’s that great feeling you get before you go on stage. At the Globe it’s multiplied because there are loads of people there. We’re very lucky because I think we’ve been sold out. There are just so many faces and you can see them all, you know. There are so many faces looking at you and you can see them all and it’s open and it’s just a beautiful space and you kind of want to go, ‘Oh, I want to do this justice, I want to do the play justice, Hamlet at the Globe’.

HB:

Did you feel more pressure here?

JA:

I don’t know why, but sometimes you do get the feeling of a bit more pressure being in London and being at the Globe, considering it is the base for the show.

HB:

And maybe the biggest audience?

JA:

So far, definitely, so far it’s a really big audience. So yeah, there was a lot of pressure, but that actually, I think, got to excitement. We had to adjust, the first two shows we had to adjust, working out because it was obviously quite a big jump from Margate and Street. Very different, I mean we’ve got the aeroplanes, we’ve got pigeons, all these other new things to deal with. And just being outside, the voice carries very differently. I mean it is a really good stage, I think, vocally, unlike how you would think because it is open.

HB:

Have you had to adapt the play in any way since Margate and Street?

JA:

Yes, we have. We’ve opened up our little set. We used to have sort of curtains on the side, we’ve opened them up. Because the Globe is pretty much a thrust stage, you know, the audience go nearly all the way round, we’ve had to open it up because of the sight lines, so they can see more.

HB:

Oh, so on the two sides...

JA:

...On the two sides they’ve opened up so we can sit on the outside. The Globe stage is, I think, nearly double the size of our little set, so we’ve got more at the front and more at the sides, so we’ve kind of had to re-block everything actually...

HB:

...And timings because some of your changes were quick.

JA:

You’re right because sometimes you have to walk right around the pillar and then you realise actually that’s – So there’s been a lot of changes, we’ve had a lot of extra rehearsals for the Globe stage because it’s going to be quite different, it is quite different to how it was.

HB:

My favourite moment was the play-within-a-play, I thought that worked so well and I thought it made Ophelia’s and Hamlet’s parts particularly intimate. I wonder how that worked back in Margate, I guess that was really intimate.

JA:

Yes it is because when we’re at those end-on stages the curtain would go across and it would be like it was just me and Hamlet on stage. And I think it does have the same effect here as well, it does. But there’s also the other thing that the curtain goes across and some people can see behind, so depending on where you’re sitting, it can be quite fun to see the actors behind quickly changing. It must be quite fun to see that as well.

HB:

That was really effective. And were there any moments, particularly for you, where you thought that worked better or worse here?

JA:

I don’t know. It’s quite nice having the actual stage balcony, for example. It’s a really good place for when we play instruments. Like just before the interval and just after we go up and we’re on the Globe balcony and we’re playing the instruments, that’s quite a nice position. And also when Ophelia’s singing at the funeral, then as well. And I quite like it, I think that’s a really strong position, whereas before we would come round the sides. Because this is it now, now we’ve done all these changes for the Globe, I’m not sure if some of them might stay actually, if they can, because we’ve kind of seen things in a new light so some of the changes might stay.

HB:

And what about the audience here? Well you’ve said ‘sold out’.

JA:

Yeah. Well our first show, it was amazing. They were really great and it was like, we were saying, it was so fun when we did the jig at the end. It was like a rock concert, everyone was clapping and going along and it was just one of those moments when you go, ‘This is cool, this is really cool’. It was kind of the official opening, I think, it was the first main...

HB:

...Yes because it opened on Shakespeare’s birthday...

JA:

Shakespeare’s birthday and it was the opening of the Globe season really and I think there were a lot of people who just came to have some fun and to enjoy the play and you really got that feeling. But they have been great since as well. I mean last night it was freezing and you think everyone’s standing up freezing, we were freezing so they must have been. They were just attentive so we were really lucky. It’s great because we get to watch other people being on stage, other people’s scenes, and you can really feel it when you’ve got everyone’s attention. I don’t know how many people the Globe actually holds, but I know there’s like seven hundred people standing, and when everyone’s silent and you’ve got their attention, you think, ‘Gosh, that’s a lot of people’. You’ve got their attention and if you’ve got it, then you can actually bring it down and be really intimate. It can be beautiful, I think.

HB:

I guess it’s quite nice that you’re always on stage as well because you’re following it.

JA:

You have to keep alert. But it’s very different first half and second half, as you probably know. Second half it opens out, it’s kind of more traditional, we go off stage and come on.

HB:

And how are you feeling about today?

JA:

Today? Yeah, good, good. We just did a photo shoot so I think we might have press in this week, so that’s not scary! Yeah good, I’m really enjoying it. The Globe is a really specific space and I think we’ve had to keep adjusting our performances and working out how to get it right. You know, how to get the level of not being too loud, not shouting because actually you don’t need to shout, but then being audible in the intimate moments. Making sure enough people can see because obviously our set wasn’t really designed for the Globe stage, our set was designed to be on tour, and so we want to make sure we can include people in the sides and I think that will keep changing and developing and getting better.

HB:

Yes and from venue to venue.

JA:

Yeah, exactly.

HB:

Great.

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