A MIDSUMMER NIGHT'S DREAM - BY WILLIAM SHAKESPEARE - SHAKESPEARE'S GLOBE
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A MiDSUMMER
NIGHT’S DREAM
by William SHAKESPEARE
1
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Wedding of Earl
Some events in the History of Derby and
Elizabeth de
of A MIDSUMMER NIGHT’S DREAM Official play-
Vere at
Greenwich
Palace, where
Chaucer’s ‘The Bad text manuscript the Dream may
Knight’s Tale’ harvests (or playbook) have been
written in England made performed
C1385 1534 1566 1567 1579 1584 1594-96
Lord Berners’ Arthur Golding’s Reginald Scot’s Shakespeare Actors’ parts are Wedding of
translation of translation of Discovery of probably writes copied from Thomas Berkeley
Huon of Bordeaux Ovid’s Witchcraft A Midsummer playbook and and Elizabeth
published Metamorphoses published Night’s Dream distributed to Carey at
published members of Blackfriars,
company where the Dream
Adlington’s Thomas North’s may have been
translation of translation of performed
The Golden Ass Plutarch’s life of
published by Theseus in Lives First
Apuleius of the Noble performances
Grecians and at the Theatre
Romans published in Shoreditch?
Early Performance & Publication
ost scholars agree that A Midsummer First Folio seems to have been based on a copy
M Night’s Dream was written somewhere
between 1594 and 1596, the period in
which Shakespeare also produced Love’s Labour’s
of this later reprint, enriched by supplementary
contributions from the promptbook.
Lost and Romeo and Juliet. It had certainly been
performed by 1598 because it is cited in an early Title page of the
first edition of
anthology by the Elizabethan critic and anthologist,
A Midsummer
Francis Meres. Titania’s description of bad weather Night’s Dream,
in Act 2 reinforces this date, for these were terrible published in
years for English agriculture. It was probably quarto, 1600.
written with the Theatre in Shoreditch in mind, Topfoto
a predecessor to the Globe and London’s first large
purpose-built playhouse.
The play was published in quarto in 1600 and
appears to have been set straight from the
playwright’s ‘foul papers’ – that is, Shakespeare’s
own manuscript, rather than the promptbook from
which the company worked in the playhouse. This
quarto was reprinted in 1619 (after Shakespeare’s
death), and the text of the play as it appears in the
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The Dream All references Shakespeare Publication of the
is registered to God in the dies in April; Dream in the First
for play are the playbook Folio, based on
publication probably cut, stays in second quarto,
with the following the possession with revisions Theatres
Stationers’ Act to Restrain of King’s from the Globe is reopen under
Company, 8 the Abuses Men annotated pulled down royal patronage
October of Players playbook
1598 1600 1606 1609 1616 1619 1623 1642 1644 1640S 1660 1662
The Dream is First The Dream Second quarto Theatres close Robert Cox’s Samuel Pepys
referred to by publication of may be published, during playlet, The Merry derides a
the critic the Dream in revived for printed by Commonwealth Conceited revival of the
Francis quarto, printed the William Jaggard Humours of ‘insipid
Meres in his by Thomas Blackfriars with misleading Bottom the ridiculous’
Palladis Fisher, based Theatre publication Weaver performed Dream at
Tamia on details at fairs and in King’s Theatre,
Shakespeare’s taverns 29 September
manuscript
Sources
The word ‘source’ is clumsy in relation to a play like
A Midsummer Night’s Dream. Shakespeare used or
THESEUS & HIPPOLYTA
adapted names, ideas, images or hints for incidents The wedding celebrations
from various works he certainly knew, and echoed Whilom, as olde stories tellen us,
a number more, so that a long list of works can There was a duc that highte Theseus;
be compiled that probably contributed in some way Of Atthenes he was lord and governour,
to the play. The detection of these has its own And in his tyme swich a conquerour,
fascination and is useful in so far as they illustrate That gretter was ther noon under the sonne.
the workings of Shakespeare’s imagination, but the Ful many a riche cóntree hadde he wonne;
most notable feature of the play is the dramatist’s That with his wysdom and his chivalrie
inventiveness, brilliantly fusing scattered elements He conquered al the regne of Femenye,
from legend, folklore and earlier books and plays That whilom was y-cleped Scithia;
into a whole that remains as fresh and original now And weddede the queene Ypolita,
as when it was composed. And broghte hire hoom with hym in his contrée
With muchel glorie and greet solempnytee…
R.A.Foakes, from his introduction to the
New Cambridge Shakespeare edition of Chaucer, ‘The Knight’s Tale’, from
A Midsummer Night’s Dream The Canterbury Tales
3
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A Midsummer George Colman Mendelssohn
Night’s Dream and Garrick writes incidental
included in Lewis attempt revival music to the play
Theobald’s of the Dream Charles Kean’s
scholarly edition at Drury Lane, production at Harley Granville-
of Shakespeare which flops Princess’s Theatre, Barker’s Max Reinhardt’s
with 8-year-old production at stage production
Ellen Terry as Puck Savoy Theatre brought to screen
1692 1733 1755 1763 1790 1826 1843 1856 1900 1914 1932 1935
The Fairy Queen, The Fairies, A Midsummer Production of the Beerbohm First of many
an operatic a musical Night’s Dream Dream in Berlin Tree’s Dreams at
adaptation by adaptation by included in by Ludwig Tieck production, Open Air
Purcell and John Smith and Edmond Malone’s featuring live Theatre,
Thomas David Garrick, scholarly edition rabbits Regent’s Park
Betterton, opens opens at Drury of Shakespeare
at Dorset Garden Lane
Theatre
OBERON BOTTOM’S TRANSFORMATION
If you take the shorter way, you must pass through And behold neither feathers nor appearance of
a wood about sixteen leagues of length, but the way feathers did burgeon out, but verily my hair did turn
is so full of the fairies and strange things, that such in ruggedness, and my tender skin waxed tough and
as pass that way are lost, for in that wood abideth hard, my fingers and toes losing the number of five,
a King of the Fairies named Oberon; he is of height changed into hoofs, and out of mine arse grew
but three foot. a great tail, now my face become monstrous, my
nostrils wide, my lips hanging down,and mine ears
Huon of Bordeaux, a 13th-century French
rugged with hair: neither could I see any comfort
romance translated by Lord Berners, 1534
of my transformation, for my members increased
PUCK likewise, and so without all help (viewing every part
of my poor body) I perceived that I was no bird, but
Indeed your grandam’s maids were wont to set
a plain Ass.
a bowl of milk before him and his cousin Robin
Goodfellow, for grinding of malt or mustard, and Apuleius, The Golden Ass, translated
sweeping the house at midnight... And you know by William Adlington, 1566
this by the way, that heretofore Robin Goodfellow,
A woman falls in
and Hob Goblin were as terrible, and also as
love with Lucius,
credible to the people, as hags and witches be now: a man transformed
and in time to come, a witch will be as much into an ass, and
derided and condemned and as plainly perceived, takes him to her bed.
as the illusion and knavery of Robin Goodfellow. From a 16th-century
Italian edition of The
Reginald Scot, The Discovery of Witchcraft, 1584 Golden Ass, by
Apuleius. Charles
Walker / Topfoto
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Release on film Elijah Release on film Globe touring
of Peter Hall’s Moshinsky’s of Adrian Noble’s production directed
Elizabethan stage BBC TV RSC production by Raz Shaw
production production
Updated New Cambridge
Shakespeare edition
published, edited by This production
R.A.Foakes opens!
1937 1969 1970 1981 1994 1996 2002 2003 2008 2009 2013
Tyrone Guthrie’s The Oxford Globe production Globe production
production, with Peter Brook’s Shakespeare directed by Mike directed by
Vivien Leigh and ‘circus’ edition published, Alfreds Jonathan Munby
Ralph production edited by Peter
Richardson for the RSC Holland
PYRAMUS & THISBE
Within the town (of whose huge walls so monstrous high and thick
The fame is given Semyramis for making them of brick)
Dwelt hard together two young folk in houses joined so near
That under all one roof well nigh both twain conveyed were.
The name of him was Pyramus, and Thisbe called was she...
WALL
The wall that parted house from house had riven therein a cranny
Which shrunk at making of the wall...
Now as at one side Pyramus and Thisbe on t’other
Stood often drawing one of them the pleasant breath from other,
O envious wall (they said), why let’st thou lovers thus?
LION
But see the chance, there comes besmeared with blood
About the chaps a lioness all foaming from the wood,
From slaughter lately made of kine, to staunch her bloody thirst
With water the foresaid spring. Whom Thisbe spying first
Afar by moonlight, thereupon with fearful steps gan fly,
And in a dark and irksome cave did hide herself thereby.
And as she fled away for haste she let her mantle fall…
Ovid, Metamorphosis, translated by Arthur Golding, 1567
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SYnopsis
THE DUKE SUPPORTS EGEUS PUCK’S ERROR COMPOUNDED
Duke Theseus and Hippolyta are preparing for their Hermia, having lost Lysander, thinks Demetrius has
wedding, when Egeus arrives with his daughter killed him, and when he denies it she goes to look
Hermia, along with Lysander and Demetrius. for him. Oberon is furious with Puck for his mistake
Hermia and Lysander love each other; but Egeus and tells him to find Helena and bring her to him.
wants Hermia to marry Demetrius (who is loved Oberon squeezes the flower onto Demetrius’ eyes
by Helena). Theseus insists that Egeus must have while he sleeps. Lysander enters with Helena,
his way, and gives Hermia a month to marry begging for her love, telling her Demetrius does not
Demetrius, or either die or become a nun. Hermia love her; Demetrius then wakes, sees Helena, and
and Lysander decide to run away and to meet in the begs for her love. Hermia enters and is snubbed
forest. Hermia tells Helena of their plans, and she in by Lysander, while Helena thinks all three are
turn tells Demetrius, in the hope that he will like her tricking her.
more for telling him. Demetrius chases after the
eloping couple, and Helena chases after him. THE SPELLS ARE LIFTED
Demetrius and Lysander challenge each other to
THE ‘MECHANICALS’ a duel. Oberon gets Puck to imitate the two men’s
A group of tradesmen meet to discuss a play on the voices, leading them around until they fall asleep.
theme of Pyramus and Thisbe which they want to Puck puts an antidote on Lysander’s eyes so that
perform at Theseus’ wedding. They plan to rehearse he resumes his love for Hermia. Oberon then
in the forest. releases Titania from her spell, having received the
changeling boy from her. Puck removes the ass’s
OBERON’S REVENGE head from Bottom.
Oberon and Titania, the king and queen of the
fairies, are arguing over who should have a DISCOVERY
changeling boy that Titania has stolen. Titania will Theseus and Hippolyta arrive to hunt in the forest,
not give him up, so Oberon takes his revenge by along with Egeus, where they discover the sleeping
having his servant Puck find a special flower whose lovers. They hear their story, and Theseus decrees
juice he will squeeze onto Titania’s eyes while she they shall be married as they wish, despite
is asleep. This will make her fall in love with the first Egeus’ will.
person she sees upon waking. Oberon, seeing
Demetrius reject Helena, tells Puck to put the THE WEDDING ENTERTAINMENTS
potion on Demetrius’ eyes also. But Puck mistakes Bottom is reunited with his friends, and they rehearse
Lysander for Demetrius, and Lysander wakes to see their play, which has been selected as one of those to
Helena, whom he falls in love with and chases after, be made available as entertainment at the wedding.
leaving Hermia alone. After supper, Theseus chooses their play, which is
presented in front of an audience of all the lovers.
BOTTOM’S ‘TRANSLATION’ They all retire to bed, and Oberon and Titania enter
The rustics begin their rehearsal near where Titania to sing and dance; Oberon blesses the three couples,
is sleeping. Puck gives Bottom an ass’s head. and Puck is left to address the audience.
Bottom frightens his friends away, and in doing
Synopsis adapted from Shakespeare’s Words by
so wakes Titania. She falls in love with him, and
David Crystal and Ben Crystal, Penguin, 2002,
Bottom is treated like a lord by the fairy retinue.
price £20.00.
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ENTERING THE OTHERWORLD
The supernatural features heavily in this year’s season at the Globe – and
especially in A Midsummer Night’s Dream. It’s an area of darkness, writes
Diane Purkiss.
hakespeare was more deeply interested in the
S
him and tries to force him to love her. Andrew also
supernatural than any other playwright of his says the queen has ‘sundry dead men in her
generation. In a theatre trying out forms of company’. Early Christian sources describe dreams
dramatic realism, he remained committed to other of a goddess called Diana who leads the furious
realms and other seas, and he transformed them. horde of dead men into the air. Despite the efforts
What drove him? Shakespeare's fairies, witches and of the rational clergy, these dreams were never fully
ghosts share as their background the seismic event annihilated. Reginald Scot cites them: ‘the witches
of Reformation. For Protestants, what had been themselves…do hear in the night time a great noise
normal ideas within the medieval church now of minstrels, which fly over them, with the lady of
became illicit, suspect acts of magic which might the fairies, and then they address themselves to
even amount to diabolism. Shakespeare was their journey.’ That encounter could be an exciting,
fascinated by the dark and ominous aspects of the even redemptive experience for earthbound
otherworldly beings about whom he wrote. masculinity, but while Andrew Man becomes
Shakespeare’s fairies are much darker than many a prophet and holy healer, Bottom the dreamer
realise. Take Oberon: the name occurs often in remains earthbound, despite giving the fairy queen
conjurations from the Middle Ages onwards. Oberon carnal access to his body. What Shakespeare had
teaches ‘knowledge in physic and… the nature learnt from the hard thinking of the Reformation
of stones, herbs and trees and of all metal.’ That was the power of bodily comedy to desacralize.
sounds benign, but was Oberon trustworthy? True, The dark upper air could be relieved of the pressure
his role in romance is compassionate helper of of the demonic by showing the chief demoness to
those in distress; for example, he sends fairy knights be merely a lustful woman, the animals who once
to defend a noblewoman condemned to be burnt. formed her train merely a peasant with a donkey’s
However, fairy knights can also be sexual predators; head. Such debunkings suggest deep fear.
one, Sir Degarré, offers to help a lady lost in the In witch trials, we hear of poor women who
woods, just as Oberon tries to help Helena. But give up their newborns to the queen of the fairies
Degarré declares his love for the lady, and then in exchange for magic powers. In this context,
rapes her savagely. This other world of the forest Titania’s account of how she acquired the little
fairies seems courtly and polite, but can be deadly. changeling boy becomes suspect; how sisterly it
The queen of the fairies is a problematic figure all sounds, but what if the ‘votaress’ who gives him
too. Andrew Man, accused of witchcraft in 1598, up were to tell this story? What if all the pain she
gave his view of her: ‘[she] promised me that I suffers, her deadly childing, the loss of her baby
should know all things... and…cure all sorts of through death, are simply things Titania does not
sickness’. In exchange, Andrew becomes the see? Titania is allowed to take the child with a clear
queen’s lover. In romances, too, the queen of the untroubled conscience, but Shakespeare knew
fairies is predatory. When Malory’s Morgan le Fay perfectly well that fairy abductions of changeling
finds Lancelot sleeping under a tree, she imprisons children were evil, as the lines in Hamlet show: ‘No
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fairy takes, nor witch hath power to charm,/ So fully defunct. In some parts of Europe, the soul
hallow'd and so gracious is the time.’ In overturning remained in the vicinity of the body for up to 40
Titania’s rule, Shakespeare is striking out a line of days; the dead of Scandinavia ‘lived’ in the grave
frightening female figures. Critics have stressed the until they faded from memory. Hamlet sustains his
sexuality in Oberon’s interest in the changeling, but father’s ghost unnaturally by his continued
have tended to take Titania’s word for it that her remembrance. Many, perhaps even most of the
interest in the boy is purely maternal, oblivious early modern revenants and stage ghosts were
of all evidence to the contrary from the figure’s corporeal. So the very Danish ghost of old Hamlet,
background. Usually such kidnapped boys become whose bones have burst their cerements, should
the queen’s paramours. make us think of vampires rather than bodiless
Titania appears elsewhere in Shakespeare’s spirits.
imagination as the goddess of witches in Macbeth, In the cases of both Oberon and the revenant of
called Hecate. If we take seriously the claims of the Old Hamlet, the plays seem to want to rule out one
text as we have it, and read it as an integral whole, category of being, the demon or devil. While Puck
a strand of the play opens up which is otherwise describes the spirits of the dead hastening back to
obscure, a strand which we may dislike because their graves, he does so in order that Oberon can
it threatens to connect Macbeth with the most say that ‘we are spirits of another sort’, able to live
troubling and egregious fantasies of continental in full sunlight. However, this is contradicted by the
witchcraft, and so fingering the stage as one of the fact that the audience does not see the fairies except
proximate causes of the leakage of Continental at night, and by the fact that after midnight is ‘fairy
witchcraft beliefs into English and Scottish witch time’. Similarly, Old Hamlet has provoked a critical
trials. ‘Pale Hecate’ and her dark offerings are, after outpouring about whether he is a devil or not, all
all, what ‘witchcraft celebrates’. This Hecate is pale of which ignores the question of what kind of dead
because she is the waning moon, the goddess of the person he is. And yet it is this question that is most
darkest night. Lyrically and figuratively, the play naturally prompted by a reading of Shakespeare’s
connects her with witches, witches who were called supernatural characters. When Hamlet asks ‘be thou
‘feyries’ by Holinshed. The weird sisters’ interest a spirit of health, or goblin damned’ he is not only
in babies and the disappearance of Lady Macbeth’s asking if the ghost is damned; he is also asking if it
suckling also connect Hecate back to Titania. is a goblin, a restless and devouring undead entity,
So Oberon, Titania, and Hecate are alike rulers subject to conjuration, but impossible to fathom or
of the restless dead; what then of Shakespeare’s control. If he is, he is strangely like Shakespeare’s
ghosts? The historian Nancy Caciola writes fairies and witches.
eloquently about the way the very category ‘restless
dead’ might be a simplification of the complex
Diane Purkiss is Fellow in English at Keble College, Oxford.
process of dying. ‘There is a liminal period in which
Her books include Troublesome Things: a history of fairies
the death of the personality is absolute, but the
and fairy stories (Penguin, 2000) and Shakespeare and
death of the flesh is not yet complete. It is only
the Supernatural (Routledge, 2008).
when the body has passed through its ‘wet’
enfleshed stage, and become ‘dry’ bones that it is
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Dark offerings: ‘Hecate’ by William Blake, combining imagery
from many sources, including Macbeth and A Midsummer
Night’s Dream. Courtesy of Tate Britain. Topfoto
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CARNAL DALLIANCE
Conventional romance is complicated and subverted by illicit desire
in A Midsummer Night’s Dream, writes Emma Smith.
aiting to get married is an itchy time for
W
confuses the play’s couples, making both Lysander
many of Shakespeare’s lovers. In Much and Demetrius turn their attentions from Hermia to
Ado About Nothing the plot to bring Helena. The strong suggestion is that the lovers are
Beatrice and Benedick together is hatched to fill interchangeable. Demetrius has turned from Helena
up the time between betrothal and marriage, while to Hermia to Helena again (perhaps still under
in Measure for Measure the bed-trick serves to magical influence); Lysander turns from Hermia to
consummate the long-deferred union of Angelo and Helena back to Hermia. These confusions, however,
Mariana. A Midsummer Night’s Dream opens with merely amplify the play’s apparent disinclination
Duke Theseus counting the hours until he can wed properly to distinguish between the two men or to
his Amazon bride Hippolyta ‘with pomp, with establish them as different characters. Hermia is
triumph, and with revelling’. The play’s plot thus willing to enter a convent rather than marry her
serves as a time-filling diversion, a way to pass father’s choice, Demetrius, but the play does nothing
those lingering hours, just as the mechanicals’ to indicate why she should so strongly prefer
entertainment of ‘Pyramus and Thisbe’ ‘hath well Lysander. Even Hermia herself is able only to
beguiled/ The heavy gait of night’. At the play’s claim that Lysander is just as good as Demetrius.
conclusion, three couples make their way to bed, ‘Demetrius is a worthy gentleman,’ Theseus
under the blessing of the fairies: admonishes. ‘So is Lysander,’ she replies. Elsewhere,
To the best bride-bed will we, the play seems to undermine or poke fun at the
Which by us shall blessed be. conventions of romantic comedy. The repetitions
And the issue there create of the word ‘dote’ and images of sight are used
Ever shall be fortunate. sustainedly to ridicule the folly of falling in love with
So shall all the couples three outward appearances. Titania’s sweet nothings to
Ever true in loving be. the donkey-man Bottom end ‘how I love thee! how
This stress on marriage has made many critics I dote on thee!’: her desire for this bestial creature
search for an Elizabethan aristocratic wedding is a comic, even humiliating, echo of the
ceremony for which the play might have been undermotivated affections between the Athenian
written. Although none has been convincingly couples. Even Pyramus and Thisbe, the Ovidian
identified, the wish for this play to be connected to story of tragic lovers which inauspiciously marks
nuptial celebration is a perennial one. David Wiles the duke’s nuptials, is performed with such
has defined its genre as that of epithalamium, or thumping rhymes and slapstick literalmindedness
poem in honour of marriage. Such interpretations that it drives a dramatic coach and horses through
limit the play’s depiction of love within the socially the elevated love rhetoric that is so key to the
conservative impulse towards marriage. contemporaneous Romeo and Juliet.
There is, however, another, less demure side to Titania’s dalliance with Bottom in her bower
the play’s interpretation of love, an idea that then, is not simply funny, however. Victorian illustrated
as now, had carnal as well as romantic connotations. editions of Shakespeare’s plays neutralised the
In part the play seems almost satirical in its erotic charge of the scene of their encounter,
depiction of the romance convention of love-at- rewriting the play to make its fairies dainty creatures
first-sight. By mistakenly applying a love-potion to from the nursery and establishing A Midsummer
the eyes of the male Athenians, Robin Goodfellow Night’s Dream as a play particularly suitable for
10G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 11
Suitable for children: Bottom and Titania in an illustration Not suitable: Robin Goodfellow enjoying himself enormously
by Sir John Gilbert. Shakespeare’s Globe Library in a 1620 collection of his mad pranks and merry jests. Topfoto
children. They couldn’t have been more wrong. productions of the play have been concerned to
Shakespeare makes his love-potion derive from excavate the wood outside Athens as a kind of
a flower transformed by Cupid’s arrow into the dreamscape, in which unconscious desires have full
distinctly suggestive ‘before milk-white, now purple rein. Since Freud, we all know what our dreams are
with love’s wound’. An illustration of Robin really about. Potential conflict between Theseus and
Goodfellow from the 1620s shows a hairy-legged Hippolyta is displaced into the warring between
satyr sporting an impressive phallus: to be puckish Oberon and Titania (the same actors probably
in the early modern period was thus to be involved doubled these roles on the Elizabethan stage
in sexual, rather than innocent, forms of mischief. and often do in modern productions), and the
The Polish director and critic Jan Kott saw A mysterious Indian boy over whom they are
Midsummer Night’s Dream as ‘the most erotic of quarrelling has been reimagined as an adolescent
Shakespeare’s plays’, but he saw this as a dark force: object of erotic, rather than parental, love. One
‘in no other comedy or tragedy of his, except Troilus school party left a recent Stratford production
and Cressida, is the eroticism expressed so brutally’. in disgust at its explicit depictions of sexuality,
revealing the gap between Victorian ideas of this as
That sexual desire is the violent, transgressive
a play particularly suitable for children, and modern
obverse of romantic love is cued from the beginning
interpretations of its violent eros. A Midsummer
of the play. Hippolyta is a captive bride, as Theseus
Night’s Dream emerges from recent studies as
boasts: ‘I wooed thee with my sword,/ And won thy
a romantic comedy sceptical about romance
love doing thee injuries.’ This sadistic opening has
conventions, ironizing its central marriages, and
its masochistic counterpart in Helena’s unswerving
concerned with love less as idealized courtship and
devotion to Demetrius: ‘the more you beat me, I will
more as physical desire. Perhaps, after all, it is not
fawn on you:/ Use me but as your spaniel, spurn
ideal entertainment for a wedding.
me, strike me’. Even Hermia suddenly recognises
her adored Lysander as a threat when they run away
from her father, requesting him to lie further away Emma Smith is Fellow and Tutor in English at Hertford
from her and preserve the relationship between College, Oxford, editor of Five Revenge Tragedies and
‘a virtuous bachelor and a maid’. Romance here
author of The Cambridge Shakespeare Guide.
reveals its threatening opposite, illicit desire. Recent
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Exploring the Amazon
Shakespeare’s Hippolyta is not just Theseus’ bride, she is also Queen
of the Amazons. Michelle Terry examines the traces of her strange and
elusive people.
omer describes them in the Iliad as mother’ or ‘mother of the forest’, which supports
H antianeirai, meaning ‘those who go to
war like men’. Herodotus uses the term
Androktones, meaning ‘killers of men’. There is
the idea that they worshipped the moon. Other
derivations suggest a more violent origin. The
Iranian ha-mazan means ‘fighting together’ and
much speculation and little evidence about the ama-jarah ‘virility killing’; the Indo-Iranian
Amazons, but despite some blurred distinctions hamazakarah means ‘to make war’. A Greek
between myth and history, the common narrative derivation (from n-mn-gw-jon-es), meaning ‘manless
is that they were an all-female tribe who lived like and without husband’ has also been proposed;
soldiers, and pursued and fought men to the death another Greek word, a-mazos, meaning ‘without
in order to defend their matriarchy. breast’, supports the notion that these women cut
Contrary to logic and popular belief, neither the or burnt off their right breasts to make it easier for
name nor the tribe derives from the Amazon River. them to pull their bows and arrows during battle.
The Amazonian section of the river was named in This must belong to myth rather than history,
1541 by the Spanish soldier Francisco de Orellana, because severing one or both breasts would have
the first European to explore the area, when an resulted in haemorrhage and death.
encounter with an all-female tribe reminded him Multiple narratives have reconfigured, disfigured
of the Amazons he had read about in Greek and reinterpreted the Amazons throughout history,
mythology. In The Histories Herodotus places them particularly in the mythology, literature and art of
in Scythia (modern-day Ukraine), where he suggests ancient Greece. The most famous myth involves
they consorted with the Scythian men. They have Hercules, whose ninth labour, imposed on him by
also been located in Asia Minor, Libya, Persia and Eurystheus, was to bring back Hippolyta’s symbolic
the Black Sea region. girdle, the gift of her father Ares, the god of war.
Remains of an all-female tribe were discovered in Another legend tells us that Theseus abducted and
the Altai Mountains of Siberia during an excavation possibly raped Hippolyta. In another, she was given
in the mid-1990’s, where mummified women were to Theseus by Hercules. In yet another version it was
found dating back to 500BC – precisely the period Antiope, Hippolyta’s sister, who married Theseus
of Herodotus’ Androktones. Thought to belong to and produced their ill-fated son Hippolytus who dies
the ancient Pazyryk people and said to resemble the at his father’s hand. Like Plutarch, Aeschylus, Ovid,
Scythian men that Herodotus had connected them Chaucer and many other writers and artists who
to, one of these – the ‘Siberian Ice Maiden’ – was have been inspired by the Amazons, Shakespeare
found still wearing her feather headdress and neither confirms nor denies the myths, but alludes
surrounded by sacred artefacts. Tattoos decorated to and re-imagines them to suit his own creation.
her body and she was bow-legged from extensive The stories explore, among many other things,
horse riding. This supported a belief that most of the battle between the male and the female.
the Amazon fighting was done on horseback (with Amazonomachy was a term coined by the Greeks to
bow and arrow, sword, double-sided axe and celebrate the conquering of the Amazons during the
crescent-shaped shield). Greek-Amazonian war and became a symbol of the
The etymology of ‘Amazon’ has been widely Greeks’ ultimate triumph over these female
debated. Some scholars have said the word derives ‘barbarians’. However, the Greek-Amazon union
from the ancient Circassian, meaning ‘moon presents a paradox: whilst needing to contain and
12G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 13
‘Love at first fight’ (John Maddox Roberts,
Conan and the Amazon): a detail from
‘Battle of the Amazons and Greeks’ by
Rubens, c.1617. Hippolyta is to the right
of Theseus, in red tunic and peacock-
plumed helmet. Alte Pinakothek, Munich.
Bridgeman Art Library
order the Amazonian female, there is a simultaneous marriage to Theseus, occupying her role as wife
desire to relish and engage with the passion for war and duchess, she never seems to obey or condone
that she inspires. However hostile their interaction, the patriarchal terms on which her roles have
at least there is an interaction, a connection with previously been defined and thereby leaves them
this alluring other. He who triumphs over her is open to re-definition.
himself conquered and captivated by her; a sexual
In his book Greek Attitudes Towards Women:
monster as well as a sexual fantasy, a military equal
The Mythological Evidence, Peter Walcot writes:
as well as an enemy. She is as much a ‘musical
‘Wherever the Amazons are located... it is always
discord’ as she is ‘sweet thunder’.
beyond the confines of the civilised world. The
If these warrior women are figures of desire and Amazons exist outside the range of normal human
threat, if they represent the marginal, the other, the existence.’ Their existence will continue to be
exotic, unruly, strong, violent, wild woman who debated and interpreted, but there can be no
must be won and tamed, if they reject marriage denying that Hippolyta exists in A Midsummer
as an enslavement to the patriarchy, then the mere Night’s Dream and her presence in the opening
presence of Hippolyta, Queen of the Amazonian scene sets up the parallels between war and
matriarchy, immediately unsettles and disrupts the courtship that extend throughout the play. Whatever
patriarchal law and ‘natural order’ that governs the fate of Hippolyta and Theseus, the feminine
Athens in A Midsummer Night’s Dream. It is no mystery of the Amazonian ‘other’ is an important
accident that Shakespeare frames his comedy about preoccupation for Shakespeare in this play and one
marriage, love and imagination with the union of that continues to be worth examining, ‘howsoever
the ‘bouncing Amazon... buskin’d mistress and... strange and admirable’.
warrior love’ to Theseus, her equally savage yet
Michelle Terry is playing Hippolyta and Titania in this
promiscuous Greek counterpart. Although
production.
Hippolyta participates in, rather than resists her
13G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 14
a midsummer night’s Dream
Huss Garbiya George Bartle Samuel Wood Bella Lagnado
STARVELING / FAIRY MUSICAL DIRECTOR (band) ASSISTANT DIRECTOR PROPS CO-ORDINATOR
/ SACKBUT / SLIDE
Tala Gouveia TRUMPET / RECORDERS Ng Choon Ping Michelle Jones
COBWEB / PERCUSSION ASSOCIATE TEXT WARDROBE DEPUTY
Tom Lawrence Emily Baines Emily Jenkins Charles Ash
SNOUT / FAIRY SHAWMS / BAGPIPES / ASSISTANT TEXT DEPUTY TIRING HOUSE
RECORDERS / CURTAL MANAGER
John Light
OBERON / THESEUS Arngeir Hauksson Rosie Hodge
Paul Russell Emily Moore
GITTERN / RENAISSANCE
Christopher Logan PRODUCTION MANAGER Emma Seychell
GUITAR / LUTE / HURDY-
FLUTE / MUSTARDSEED WARDROBE ASSISTANTS
GURDY / PERCUSSION Marion Marrs
Molly Logan COMPANY MANAGER Hayley Thompson
Sarah Humphrys
MOTH Victoria Young
SHAWMS / RECORDERS / Wills
CURTAL WIGS, HAIR & MAKE-UP
Sarah MacRae TECHNICAL MANAGER
ASSISTANTS
HELENA
Nicholas Perry Fay Powell-Thomas
SHAWMS / BAGPIPES / Anna Bruder
Fergal McElherron ASSISTANT PRODUCTION
RECORDERS / CURTAL / Emily Hussey
QUINCE / FIRST FAIRY MANAGER
HURDY-GURDY / Penny Spedding
Edward Peel PERCUSSION Vicky Berry PROP MAKERS
EGEUS / SNUG STAGE MANAGER
Jane Gonin
Pearce Quigley Adam Moore Sasha Keir
BOTTOM Dominic Dromgoole DEPUTY STAGE MANAGER Will Skeet
DIRECTOR Elspeth Threadgold
Stephanie Racine Olly Clarke Judith Ward
PEASEBLOSSOM Jonathan Fensom ASSISTANT STAGE Lewis Westing
DESIGNER MANAGER COSTUME MAKERS
Olivia Ross
HERMIA Claire van Kampen Lorraine Ebdon Becky Hartnoll
COMPOSER COSTUME SUPERVISOR MASKS
Joshua Silver
DEMETRIUS Siân Williams Megan Cassidy Karen Shannon
CHOREOGRAPHER WARDROBE MANAGER Janet Spriggs
Matthew Tennyson Tamara Walsh
PUCK / PHILOSTRATE Giles Block Pam Humpage HEADRESSES & HATS
GLOBE ASSOCIATE – TEXT WIGS, HAIR & MAKE-UP
Michelle Terry MANAGER Schultz & Wiremu
TITANIA / HIPPOLYTA Glynn MacDonald
DYEING
GLOBE ASSOCIATE – Tim de Vos
Luke Thompson MOVEMENT TIRING HOUSE MANAGER Kes Hayter
LYSANDER Simeon Tachev
Martin McKellan
CARPENTERS
VOICE & DIALECT
14G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 15
Kate De Rycker Karishma Balani Jean Jayer Nicholas Robins
Kim Gilchrist CASTING, CREATIVE & STEWARDS’ CO-ORDINATOR PROGRAMME EDITOR
Lana Harper FILMING ASSOCIATE
Sophie Harrold Laura Trigg David Bellwood
Faye Merralls Jessica Lusk BOX OFFICE MANAGER EDITORIAL ASSISTANT
Elizabeth O’Connor ARTiSTIC CO-ORDINATOR
& ASSISTANT TO THE Justin Giles C&C Design
RESEARCHERS
ARTISTIC DIRECTOR DEPUTY BOX OFFICE PROGRAMME DESIGN
MANAGER
Rebecca Austin Mark Douet
Dominic Dromgoole ASSISTANT COMPANY Rachael Dodd PHOTOGRAPHER
ARTISTIC DIRECTOR MANAGER BOX OFFICE SUPERVISOR
Small Back Room
Tom Bird Katherine Ellis THANKS TO season concept Design
EXECUTIVE PRODUCER THEATRE FINANCE Andy Rudge at W & P
Longreach Cantate
ASSISTANT
Lotte Buchan Virginia Wilde at Equity PRINT
THEATRE GENERAL Sarah Murray Abi Walker
MANAGER THEATRE ASSISTANT Alec Clements
Laizan Fung The performance on 11
Claire Godden James Maloney Justin Giles, Charles September is sponsored by
THEATRE GENERAL MUSIC ASSISTANT Ash and Ruth Murfitt UBS Wealth Management.
MANAGER Elizabeth Rolaff, Jane
Rosie Townshend
Lagnado and Roman
Helen Hillman PLAYHOUSE EVENTS
Lagnado
THEATRE FINANCE CO-ORDINATOR
MANAGER
Abi Carter
Bill Barclay ASSOCIATE FILM PRODUCER
DIRECTOR OF MUSIC &
MUSICAL DIRECTOR Lottie Newth
[COMPANY] THEATRE INTERN
Matilda James
CASTING DIRECTOR
Celia Gilbert
Tamsin Palmer FRONT OF HOUSE MANAGER
ASSOCIATE PRODUCER
Nicki Courtenay
Chui-Yee Cheung DEPUTY FRONT OF HOUSE
FILM & DIGITAL MANAGER
DISTRIBUTION MANAGER
Louise Bailey
Helena Miscioscia Carly Davies
MARKETING & PRESS Maureen Huish
[TOURS] Tanya Page
Javier Perez-Opi
Verna Tucker
DUTY HOUSE MANAGERS
15G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 16
Consort, English Touring Opera, Music Theatre Wales, the
BIOGRAPHIES Royal Shakespeare Company, the Orchestra of the Age
of the Enlightenment, the London Philharmonic Orchestra
and the Philharmonia Chorus. His music has taken him
EMILY BAINES MUSICIAN to Africa and China and throughout Europe and the USA.
Emily is a freelance recorder player, singer and musical George has performed for Her Majesty the Queen and His
director working all over the UK and Europe, and Royal Highness the Prince of Wales, performs regularly on
specialises in a wide variety of historical woodwind television and radio and can be heard on numerous film
instruments. She trained as a recorder player and singer soundtracks and pop and classical album recordings. He
(soprano) at the University of Hull, the Koninklijk has worked with a diverse range of artists, from Sir David
Conservatorium in The Hague and the Guildhall School Wilcocks and Kurt Masur to Eric Levi and Manfred Mann.
of Music and Drama, where she gained a MMus with
distinction and was given a two-year Guildhall Artist GILES BLOCK Globe associate – Text
Fellowship. Following this she has worked as a guest Giles has led the text work at Shakespeare’s Globe since
lecturer at the Guildhall and the University of Hull and 1999, and to date has been involved in almost 60
is now a scholarship student on the Guildhall’s doctoral productions. This season he’ll add several new
programme. She performs widely with many period Shakespeare productions to the list. His directing credits
instrument and contemporary groups, including at Shakespeare’s Globe include: Antony and Cleopatra
L’Avventura (whose Handel in the Playhouse CD was (1999), Hamlet (2000) and Troilus and Cressida (2005).
received with great acclaim), The Orchestra of the Swan His posts include: Associate Director at Ipswich Theatre
and Salut! Baroque (Sydney, Australia). Emily has also co- (1974-77), Staff Director at The National Theatre (1977-
founded a number of successful ensembles, including The 81) and Director of Platforms at The National Theatre
Musicians of London Wall (recently selected to perform at (1981-84). His theatre direction credits include: The Fawn,
the London Handel Festival and also Brighton Early Music She Stoops to Conquer (National Theatre); Macbeth, The
Festival’s young artist scheme BREMF Live! and featured Cherry Orchard, King Lear, Richard III, Hamlet, Skylight
on BBC Radio 3’s The Early Music Show) and The and Vincent in Brixton (Shochiku Company, Japan).
Fellowshippe of Musickers, specialising in Medieval and In 2000 the Association of Major Theatres of Japan
Renaissance music, recently returned from a third highly recognised Giles for services to the Japanese Theatre.
successful tour of Austria and soon to be recording their In recent years, Giles has directed The Tempest, Henry V
second album (to be released in early 2014). Last year and The Comedy of Errors at The Blackfriars Theatre
she worked with The Gabrieli Consort, BREMF in Virginia.
Renaissance Players, Shakespeare's Globe and Just
Enough Theatre Co. Emily also worked with Jericho House DOMINIC DROMGOOLE DIRECTOR
Theatre Co, for whom she acted as Assistant Musical Dominic is the Artistic Director of Shakespeare’s Globe.
Director on the 17th-century masque Love Freed from Previous work at the Globe includes: Coriolanus, Antony
Ignorance and Folly, as Musical Director for Into Thy and Cleopatra, Love’s Labour’s Lost, King Lear, Romeo
Hands (Wilton’s Music Hall) and as Musical Director for and Juliet, A New World by Trevor Griffiths, Henry IV Parts
The Tempest (St Giles’, Barbican). 1 and 2, Henry V and a small-scale tour of Hamlet. He
was Artistic Director of the Oxford Stage Company from
GEORGE BARTLE MUSICAL DIRECTOR (band) 1999-2005 and of the Bush theatre from 1990-1996,
George studied trombone and singing at the Royal College and Director of New Plays for the Peter Hall Company in
of Music, London and sackbut and singing at the Schola 1996/7. He has also directed at the Tricycle Theatre, in the
Cantorum Basiliensis in Switzerland. He appeared in West End, and in America, Romania and Ireland. Dominic
Love’s Labour’s Lost at Shakespeare’s Globe and on tour has written two books, The Full Room (2001) and Will
in 2009, Henry IV Parts 1 and 2 in 2010, All’s Well That & Me (2006).
Ends Well in 2011 and Henry V and Twelfth Night in 2012.
He also works as a composer and musical director with JONATHAN FENSOM DESIGNER
Globe Education, having been MD for the Concert for For Shakespeare’s Globe: Henry V, Hamlet, The Globe
Winter in 2012 and composer/MD for Our Theatre: The Mysteries, Hamlet (tour), Henry IV Parts 1 & 2, King Lear
Winter’s Tale in 2013. George has worked with many and Love’s Labour’s Lost. Other theatre includes:
period ensembles and orchestras across the globe, The American Plan (Bath); The Accrington Pals (Royal
including the Monteverdi Choir & Orchestra, Orchestre Exchange Theatre); The Thrill of Love (St James’s);
Révolutionnaire et Romantique, The King’s Consort, His Our Boys (West End); Goat (The Traverse Theatre); Six
Majesty’s Sagbutts and Cornetts, Ex Cathedra, the Gabrieli Degrees of Separation (Old Vic); Brighton Beach Memoirs
16G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 17
(Watford); Philadelphia, Here I Come! (Gaiety Theatre lute, guitar, cittern, theorbo, oud and saz and he teaches
Dublin); A Midsummer Night’s Dream (Canada); Rain and plays their modern counterparts: classical, folk and
Man, Some Girls, Twelfth Night, Smaller, What the Butler electric guitars. If the music gets louder he is known to
Saw, East (West End); Swan Lake (San Francisco Ballet); play percussion and turn the handle of the hurdy-gurdy
Journey’s End (West End, Broadway); The American Plan, as well. Arngeir has performed in Love’s Labour’s Lost,
Pygmalion (New York); The Homecoming, Big White Fog, The Merry Wives of Windsor, King Lear, Romeo and Juliet,
Becky Shaw (Almeida Theatre); Happy Now?, The Henry IV Parts 1 and 2, Henry V and Twelfth Night at
Mentalists, Burn/Citizenship/Chatroom (National Theatre); Shakespeare’s Globe. Besides the theatre he plays with
In The Club, Born Bad, In Arabia We’d All Be Kings, some of the main English period groups and operas such
Abigail’s Party, What the Butler Saw (Hampstead Theatre); as Glyndebourne, The Sixteen, Ex Cathedra, English
Duck, Talking to Terrorists, The Sugar Syndrome (Royal National Opera and English Touring Opera, as well as
Court); Kindertransport, Breakfast with Emma (Shared recording and performing with the BBC Concert Orchestra
Experience); The Tempest (Tron Theatre); Crown and the BBC National Orchestra of Wales. He regularly
Matrimonial (Guildford, Tour); The Faith Healer (The Gate, performs in the Historic Royal Palaces, Hampton Court
Dublin/Broadway); God of Hell (Donmar); National and the Tower of London and with his own groups, Bardos
Anthems (Old Vic); M.A.D., Little Baby Nothing (Bush Band, Wyrewood and Musica Mappa Mundi.
Theatre); Be My Baby (Soho Theatre); Small Family
Business, Little Shop of Horrors (West Yorkshire SARAH HUMPHRYS MUSICIAN
Playhouse); My Night With Reg, Dealer’s Choice Sarah studied recorder, baroque oboe and shawm at the
(Birmingham Repertory); After the Dance, Candide, Hay Royal College of Music and at the Schola Cantorum
Fever (Oxford Stage Company); So Long Life (Theatre Basiliensis in Basel, Switzerland. Sarah freelances
Royal Bath) and Wozzeck (Birmingham Opera and throughout Europe and has performed and recorded with
European tour). Jonathan was Associate Designer on leading period instrument ensembles such as Freiburg
Disney’s The Lion King, which premiered at the New Baroque Orchestra, the Gabrieli Consort, Fagiolini, the
Amsterdam Theatre on Broadway and has subsequently European Union Baroque Orchestra, the Hanover Band,
opened worldwide. His set design for Journey’s End was La Nuove Musica, Florilegium and St James’ Baroque. She
nominated for a Tony Award in 2007. The production won regularly makes radio and TV broadcasts and recordings
the Tony Award for Best Revival. for films. This is her fifth season as a principal player at
Shakespeare’s Globe. Sarah is also a member of two
HUSS GARBIYA STARVELING / FAIRY chamber groups with whom she performs and records
Huss trained at Rose Bruford. For Shakespeare’s Globe: throughout Europe: Ensemble Meridiana, winners of three
The Frontline. Other theatre includes: San Diego (Tron major international awards, and the recorder quintet,
Theatre, Glasgow); Ash Girl, Quarantine (Birmingham Fontanella. Sarah teaches recorder and coaches baroque
Rep.); Made of Stone (Royal Court); The Loneliness of the and recorder ensembles at the Royal College of Music
Long Distance Runner (Nottingham Playhouse) and Wise Junior Department.
Guys (Contact, Manchester). Film includes: Some Voices
and Sex Lives of the Potato Men. Television includes: EMILY JENKINS ASSISTANT TEXT
Wire in the Blood, The Bill, The Grid, Brief Lives, Buried, Theatre as Director includes: Rainbow (Fringe First
Clocking Off, EastEnders, Extremely Dangerous and Award Winner 2012); Holiday (The Bush Theatre); Cab
Holby City. Fare for the Common Man (Edinburgh Fringe: The
Space@Jury’s Inn); Mojo Mickybo (The Old Red Lion);
TALA GOUVEIA COBWEB Arabian Nights (Liverpool Theatre School); Look at Me
Tala trained at The Bristol Old Vic Theatre School. Theatre (Theatre503); Overspill (Cockpit Theatre); Sweet Jack
includes: Muswell Hill (Orange Tree Theatre); Buried Child Falstaff and A Midsummer Night’s Dream (The Manor
(Upstairs at the Gatehouse); Acute Bliss (Urban Physic Garden). Theatre as Assistant Director includes: La
Garden) and The Shape of Things (Alma Theatre/The Arts Boheme (The Royal Opera House – Awarded Staff
Theatre). Television includes: FIT and EastEnders. Directors’ Observership); Jeffrey Bernard is Unwell
(Theatre Royal Bath); Cocteau in the Underworld (The
ARNGEIR HAUKSSON MUSICIAN Arcola Theatre); Anyone Can Whistle (Jermyn Street
Arngeir was born in Iceland but came to London for his Theatre) and The Glass Menagerie (Assistant Dramaturg,
postgraduate studies on the guitar and the lute at Guildhall Young Vic Theatre). She is Resident Director of the Poel
School of Music and Drama. He now specialises in Event at The National Theatre and is on a year-long
authentic plucked instruments from the Medieval, writer’s attachment at the Traverse Theatre, Edinburgh.
Renaissance and Baroque periods, such as the gittern,
17G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 18
TOM LAWRENCE SNOUT / Fairy Crucible); The Way of the World (Chichester Festival
Tom trained at Exeter University and RADA. For Theatre); Drama at Inish (Finborough Theatre); The Belle’s
Shakespeare’s Globe: Hamlet. Other theatre includes: Stratagem, The Rivals (Southwark Playhouse); The School
Summer and Smoke (Apollo Theatre and Nottingham for Scandal (Barbican Theatre); A Midsummer Night’s
Playhouse); When We Are Married (West Yorkshire Dream (Headlong); The Picture (Salisbury Playhouse);
Playhouse); Oliver Twist (Library Theatre, Manchester); The Comedy of Errors (Open Air Theatre, Regent’s Park);
Death in Venice (Snape Maltings/Bregenz Festspielhaus); Philadelphia, Here I Come! (Gaiety Theatre, Dublin);
House and Garden (Salisbury Playhouse); Biloxi Blues Twelfth Night (Thelma Holt Productions); Shakespeare’s
(Vanburgh Theatre) and Forest Sale (Royal Opera House, Lovers (Cunard) and The Quare Fellow (Oxford Stage
Deloitte Ignite). Tom is a founder member of Punchdrunk, Company). Film includes: Hummingbird, The Magic Flute,
with whom he has co-devised and performed in several Mrs Henderson Presents and Esther Kahn. Television
site-specific productions, including the South Bank Show includes: Kerching! (BBC). Radio includes: The
Best Theatre Award-nominated The Masque of the Red Arab/Israeli Cookbook.
Death and Woyzeck, The House of Oedipus, The Cherry
Orchard, The Black Diamond and The Firebird Ball. Film MOLLY LOGAN Moth
includes: Age of Heroes, Christ’s Dog, Isaac and Jack Molly trained at RADA. Theatre includes: 24 hour plays
and Jill. Television includes: Shakespeare Uncovered: (Old Vic); Romeo and Juliet, From Both Hips, Saturday
Hamlet, Silent Witness, Inspector Lynley, Doctors, The Night, You Never Can Tell, The Mysteries (RADA) and
Rating Game and Ingham Investigates. Radio includes: Victory Street (Soho Theatre/NYT). Television includes:
Night of the Hunter (Sony Award Winner); To Sicken and Spoof or Die (Channel 4). Molly was a finalist for the
So Die, Made in China, Dixon of Dock Green, Like An Stephen Sondheim Student of the Year 2011 at the
Angel and numerous readings for Poetry Please. Tom has Queen’s Theatre, London.
made many recordings, including readings of All Quiet
on the Western Front, Wild Abandon and The Collected GLYNN MACDONALD Globe associate –
Works of John Betjeman. Movement
Glynn trained in the Alexander Technique in 1972. She is
JOHN LIGHT OBERON / THESEUS past Chairman of The Society of Teachers of the Alexander
John trained at LAMDA. For Shakespeare’s Globe: A New Technique (STAT). She has worked in the Actors Centre
World: A Life of Thomas Paine. Other theatre includes: and the Field Day Theatre Company in Ireland, Dramaten
Julius Caesar (Chicago Shakespeare Theatre); Thom Pain in Stockholm, Norskspillersforbund in Norway, Holback
(based on nothing) (The Print Room); Luise Miller Engstheatre in Denmark, Bremen Opera Company in
(Donmar Warehouse); Apologia, Clocks and Whistles Germany, Poland, Switzerland, Japan, Australia and
(Bush); Hedda Gabler (Gate, Dublin); The Giant, My Boy the USA. Since 1997 she has been resident Director
Jack (Hampstead Theatre); Julius Caesar, The Tempest, of Movement at Shakespeare’s Globe on all theatre
The Seagull (nominated for the Ian Charleson Award); In productions. In 2002 she directed Transforming
the Company of Men, A Patriot for Me (RSC); The Night September 11th at the Linbury Studio, Royal Opera House
Season (National Theatre); Singer (Tricycle Theatre); The for Peace Direct. She shared the Sam Wanamaker Award
Master Builder (Almeida); The Tower (nominated for the with Giles Block in 2011 for services to the Globe. She
Ian Charleson Award); Certain Young Men, The Cenci (The also works on the Jette Parker Young Artists Programme
Almeida) and My Mate’s Girlfriend is Titania (Crescent at the Royal Opera House, Covent Garden.
Theatre). Film includes: Albert Nobbs, Scoop, Partition,
Heights, The Lion in Winter, Benedict Arnold, The Good SARAH MACRAE HELENA
Pope, Trance, Purpose, Investigating Sex, Five Seconds Sarah trained at RSAMD. For Shakespeare’s Globe: The
to Spare and A Rather English Marriage. Television Taming of the Shrew. Other theatre includes: Much Ado
includes: Shakespeare Uncovered, WPC 56, Father About Nothing (Sonia Friedman productions) and Men
Brown, Endeavour, Vera, Silk, Dresden, North and South, Should Weep (National Theatre).
Dalziel and Pascoe, Cambridge Spies, Lloyd and Hill,
Band of Brothers, Love in a Cold Climate, Aristocrats, FERGAL MCELHERRON QUINCE / FIRST FAIRY
Cider with Rosie, The Jump, The Unknown Soldier, For Shakespeare’s Globe: As You Like It, The Comedy
Holding On and Cold Lazarus. of Errors, Romeo and Juliet, Love’s Labour’s Lost, Helen,
The Winter’s Tale. Other theatre includes: Trelawny of the
CHRISTOPHER LOGAN FLUTE / MUSTARDSEED Wells (Donmar); A Midsummer Night’s Dream (Milton
Christopher trained at RADA. Theatre includes: The Rooms); Guys & Dolls (Cambridge Arts Theatre);
Magistrate (National Theatre); Macbeth (Sheffield The Playboy of the Western World, Shoot The Crow
18G1.85 Globe MIDSUMMER AW_Layout 1 21/05/2013 13:14 Page 19
(Druid Theatre Co); A Whistle in the Dark (Royal Edward Peel EGEUS / SNUG
Exchange/Tricycle); Days of Wine and Roses (Lyric Edward trained at Rose Bruford College. For
Theatre); Peer Gynt, Don Carlos, Olga, The Taming of the Shakespeare’s Globe: Anne Boleyn, Troilus and Cressida
Shrew (Rough Magic); Shoot the Crow (Prime Cut); The and The Winter’s Tale. Other theatre includes: Chitty
Recruiting Officer, Savoy, Iphiginia at Aulis, The House Chitty Bang Bang, Horse Marines (Drum Theatre); On
(Abbey Theatre); Sleeping Beauty (Landmark a Shout, Nellie Toast (Hull Truck Productions); Enemies
Productions/Helix); How Many Miles to Babylon? (Almeida); Easter, Singer, Sergeant Musgrave’s Dance
(Second Age); Dublin by Lamplight (Corn Exchange); (Oxford Stage Company); Sugar, Sugar, Gong Donkeys
Dr Ledbetter’s Experiment, Candide (Performance (Bush Theatre); An Inspector Calls (National Theatre);
Corporation – winner Best Supporting Actor Irish Falling, A Collier’s Friday Night (Hampstead Theatre); All
Times/ESB Theatre awards 2002, Best Actor Dublin Fringe Credit to the Lads (Sheffield Crucible Theatre); Richard III,
Festival 2002); Mojo Mickybo (Kabosh, Best Actor Dublin The Merry Wives of Windsor, Poetry or Bust (Northern
Fringe Festival 1999, Best Actor nominee Irish times/ESB Broadsides); Richard III (RSC); The Dragon, Twelfth Night,
Theatre awards 1999); Mixing it on the Mountain D H Lawrence Trilogy and The Changing Room (Royal
(Calypso) and Trainspotting (Common Currency). Film Court). Film includes: O Lucky Man!, Britannia Hospital,
& Television includes: The Anarchic Hand Affair (Rocket Hospital Lassiter, A Sailor’s Return, Force Ten from
Pictures); The Clinic (RTE); Holy Cross (BBC); Omagh Navarone, Lassiter and Shogun. Television includes:
(Channel 4); H3 (Stanbury Films); Eureka St. (Euphoria Juliet Bravo, Heartbeat, All Creatures Great and Small,
Films); The Secret of Roan Inish (Skerry Movies). Writing The Sweeney, Minder, Out, The Life and Times of Nicholas
includes: To Have and to Hold (Kabosh, nominated for Nickleby, Doctors, Hollyoaks, Emmerdale, Cracker,
a Stewart Parker award) and In the Blink of an Eye Hillsborough, Clocking Off, Dr Who and Ripper Street.
(RTE Radio).
NICHOLAS PERRY MUSICIAN
Martin MCKellaN Voice & Dialect Nicholas has worked as a musician on more than 25
For Shakespeare’s Globe: King Lear, The Tempest, The productions at Shakespeare’s Globe, twice as a deputy
Taming of the Shrew, Henry V, The God of Soho, Hamlet, in an all-woman band. He has also toured with the RSC.
As You Like It, Doctor Faustus, A Midsummer Night’s His recent concerts and recordings include work for the
Dream and Anne Boleyn. Recent theatre includes: Travels Gabrieli Consort, I Fagiolini, His Majesty’s Sagbutts and
with my Aunt (Menier Chocolate Factory); The Accrington Cornetts, and the Orchestra of the Age of Enlightenment.
Pals (Manchester Royal Exchange); The Thrill of Love (St As a serpent player he has performed with the Brodsky
James Theatre); the 40th anniversary production of The String Quartet, the Netherlands Philharmonic Orchestra
Rocky Horror Show (National Tour); Dandy Dick (Brighton and as a soloist with the BBC singers. He is a member
Theatre Royal); Life is for Beginners (Theatre503); On the of The City Musick and the City Waites and has played
Record (Arcola Theatre); The Madness of George III frequently for film and television. He has worked for many
(Apollo Theatre and National Tour); Our Private Life (Royal years as an instrument maker in wood and brass, is
Court); Hobson’s Choice (Sheffield Crucible); The History curator of the musical instrument collection at SOAS,
Boys (National Tour); When We Are Married (Garrick and was until recently the world’s only professional
Theatre); Joseph K (The Gate); Enjoy (Gielgud serpent leatherer.
Theatre/National Tour); Sisters (Sheffield Crucible);
Timings (King’s Head); Alice (Sheffield Crucible) and NG CHOON PING ASSOCIATE TEXT
Breed (Theatre503). Other theatre includes: Alphabetical Theatre as Director includes: Pure O (King’s Head
Order (Hampstead Theatre); The History Boys (West Theatre); Yolk and Matchmakers (RADA Studios); Snap
Yorkshire Playhouse & National Tour); Lord Arthur Savile’s (Young Vic); Guiltless (Southwark Playhouse); Happy
Crime (National Tour); The Lord of the Rings (Drury Lane); Ever After, Teeth (Theatre503); Admissions (King’s Head)
This Much is True (Theatre503); Riflemind (Trafalgar and Armed Forces Day (Riverside Studios). Theatre as
Studios); The Laramie Project (Sound Theatre); Single Assistant Director includes: Chimerica (Almeida) and
Spies (National Tour); A Model Girl (Greenwich Theatre); Someone to Blame (King’s Head).
My Matisse (Jermyn Street Theatre); The Rocky Horror
Show (Comedy Theatre); Our House (National Tour); PEARCE QUIGLEY BOTTOM
Christine (New End Theatre); The Arab Israeli Cookbook Pearce trained at the Manchester Polytechnic School
(Tricycle Theatre); A Small Family Business (Watford of Theatre. For Shakespeare’s Globe: The Taming of the
Palace); Candida (Oxford Stage Co.); The Importance Shrew and Doctor Faustus. Other theatre includes: The
of Being Earnest (National Tour) and You Might As Well Seagull (Royal Court and Broadway); Blue Heart (New
Laugh (New End Theatre). York); Zack (Royal Exchange Theatre, Manchester) and
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