15 September – 13 October 2018
|TicketsYard (standing) £5 | Gallery (seated) from £22. Under 18s – £3 off all seats in the Globe Theatre||Running timeTo be confirmed|
1665. As the plague runs rife through London, Reverend William Mompesson arrives in Eyam, Derbyshire, to lead the parish. But Eyam is no sleepy backwater; it is a village at war with itself. The community has dissolved, and neighbour feuds with neighbour under the watchful eye of a ruthless landowner bent on maintaining his grip on the village. When the plague arrives in Eyam, the villagers are tasked with examining their civil responsibility, as they must decide whether to stay quarantined, or flee and risk spreading the deadly disease.
Please note: as William himself observes when he arrives in Eyam, it’s a village full of ‘fighting and fornication’, so expect moments of violence and strong language.
New writing at the Globe
‘A new writing venue 400 years ago, the Globe continues to be a new writing venue today, and the 2018 season is no exception. I’m so excited to premiere two plays written for the unique playing conditions of the Globe Theatre, including Matt Hartley’s Eyam, about an outbreak of the plague in a small Derbyshire village in 1665.’
Matt Hartley is an award-winning writer whose work has been produced by Hampstead Theatre, Paines Plough, Pentabus and the Royal Shakespeare Company.
‘The Globe is a magical space. A place for invention, play and adventure. Every visit has always sent shivers down my spine and made me evaluate what is possible as a writer. Having grown up looking out of my bedroom window at Eyam, this has been a story that I’ve wanted to tell for nearly 30 years and I can’t wait to share it with the Globe audience.’
Adele Thomas is a theatre and opera director. Previous work at the Globe includes The Knight of the Burning Pestle (2014, Sam Wanamaker Playhouse).
‘It is such a thrill to be bringing this play about the power of ordinary people to theatre’s ultimate civic space. It is a vital time in our history to be asking ourselves what our collective responsibility is, and what sacrifices we’d be willing to make for the betterment of all society, not just our personal tribe. I am beyond excited to be starting work on this extraordinary play.’