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International feature and interview ideas Shakespeare’s Globe is one of the most popular visitor destinations in the UK, at the heart of the regeneration of London’s Bankside. Together the Globe Theatre, Globe Education, Globe Exhibition and Tour offer a unique setting to explore Shakespeare in performance.

The Globe has always been an international story, the vision of an American, the Globe welcomes international audiences into its oak embrace. It has also sought to take the Globe’s work back out into the world through international touring and education programmes. To discuss further, please contact Louise Gilbert, Press & PR Officer 2012, Louise.g@shakespearesglobe.com, +44 (0)207 902 1476.

Feature ideas 1. Interview a Globe actor about their pre-show rituals and find out how they physically and psychologically prepare to step into character.

As the Olympic and Paralympic Games move ever closer, athletes will have their precompetition rituals to help take their game to the next level. This summer, while athletes are warming up for one of the most important performances of their career, actors across London will be doing precisely the same in the world of theatre. It’s often surprising how actors chose to warm up physically and psychologically before taking to the stage to ensure give the audience a compelling and memorable performance. If you would like to talk to a Globe actor about their rituals and preparations and how they compare it to that of an athlete, please contact the press office.

2. The Indoor Jacobean Theatre project.

The Globe’s plans to introduce an Indoor Jacobean Theatre to its already world-famous theatre site on London’s Bankside will be the most complete recreation of an English renaissance indoor theatre yet attempted. It will seat 320 people with two tiers of galleried seating and an historical pit seating area, which will provide a uniquely intimate and intense theatre experience. The theatre will allow productions to play throughout the winter, widening the Globe’s repertoire and further completing the understanding of the nature of Jacobean theatre.

The Globe intends to open the theatre with its first, programmed winter season in November 2013 and will be an exciting addition to London Theatre. Some of Shakespeare’s greatest plays – The Tempest, Cymbeline and The Winter’s Tale – were written for an entirely different space to the outdoor Elizabethan playhouses like the Globe Theatre. By restoring the Indoor Jacobean Theatre to its intended purpose, the Globe will be able to further its understanding of theatre practices at that time and explore the unique relationship between actor and audience in England’s earliest indoor theatres.

Globe Education has an excellent in-house academic department which leads the research for the theatre. The findings and advice from the in-house team, led by Dr Farah KarimCooper, Head of Research & Courses, is critical to the project.

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3. Shakespeare’s Globe – its influence on theatre practice and the unique audience experience it offers.

What was it like to experience London theatre in the 1600s? How does the open air and shared light affect actors’ performances and the audience’s experiences today? How does the space challenge a modern day director? What is it like to stand in the yard to watch a performance? How does it feel for audiences to interact with the actors?

The Globe offers something completely unique for directors, actors and audiences alike. Not only is it an inspiring and distinctive theatrical space, but also a top London tourist attraction, welcoming hundreds of thousands of international visitors every year. What makes the Globe so distinct and successful? Interviews with theatre practitioners are available upon request.

4. Globe Education. A world-class learning resource for students from around the world.

Each year more than 100,000 people of all ages and nationalities participate in Globe Education’s programme of events, workshops and courses lead by top theatre practitioners and Shakespeare scholars. Globe Education believes that the best way to learn about the works of Shakespeare is by enjoying them, and have created playful and play-filled ways to experience Shakespeare in action.

Interviews with Patrick Spottiswoode (Director, Education), Jamie Arden (Head of Operations & Events), Dr Farah Karim-Cooper (Head of Courses & Research) and Fiona Banks (Head of Learning) are available upon request.

5. Shakespeare’s Globe and Royalty in 2012.

The eyes of the world are on London throughout 2012 - the year Her Majesty Queen Elizabeth II celebrates her Diamond Jubilee and the city plays host to the Olympic and Paralympic Games. On the 3rd June 2012 Shakespeare’s Globe will have a front row seat when Her Majesty the Queen’s celebratory river pageant sails up the River Thames. The historical event will take place during the international Globe to Globe Festival, with a Lithuanian production of Hamlet.

Her Majesty The Queen and His Royal Highness Prince Philip attended the Royal Gala opening of the Globe on 12th June 1997. Prince Philip opened the Sackler Studios – Globe Education’s Education and Resource centre in November 2010 and recently attended an event at Buckingham Palace held to raise funds for the development of the Indoor Jacobean Theatre.

His Royal Highness Prince Philip The Duke of Edinburgh is Patron of Shakespeare’s Globe.

6. Talk to the Globe’s leading creatives about the Globe to Globe Festival.

Artistic Director, Dominic Dromgoole and Festival Director, Tom Bird, are available to discuss the Globe to Globe Festival which plays from 23rd April to 9th June 2012 and welcomes 36 international theatre companies to the Globe. One of the most ambitious Shakespeare Festivals of all time, all 37 Shakespeare plays will be performed in 37 languages in just six weeks, forming a wonderful celebration of London’s Olympic year and the world’s love for Shakespeare’s work.

The festival will open with a production of Troilus and Cressida in Maori by Ngākau Toa on the 23rd April. Dominic and Tom also offer the chance to talk about the Globe in general.

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7. London and Shakespeare’s Globe – the perfect learning holiday destination.

As learning holidays become more popular than ever, London and Shakespeare’s Globe offer the ideal combination of enjoyment and education. For those interested in history, literature, performance, architecture, costume or Shakespeare himself, the Globe is an inspiring setting to explore and learn during a visit to London. The Globe’s expert tour guides provide a fascinating tour of the iconic theatre and auditorium and bring to life colourful stories of the 1599 Globe, while the exhibition presents live demonstrations of swordfighting, costume dressings and printing on 17th Century press. The audio guide enhances the visitor experience with six languages available – French, Italian, German, Spanish, English and Japanese. Situated on Bankside along the River Thames with beautiful views looking towards St Paul’s Cathedral, the Globe also has a reputation for being one of the most romantic places to visit in London.

8. Shakespeare’s Globe – a unique architectural experiment and an iconic London landmark.

McCurdy & Co. were closely involved in the authentic reconstruction of Shakespeare's original 'wooden O', carrying out much of the early research and analysis together with the detailed design and fabrication of the entire oak frame. As there were no building records in existence the Globe team had to rely on historic reference material, Peter McCurdy's own knowledge of carpentry methodology of the period and analysis of the relevant contemporary buildings to help determine the overall design.

Peter is currently working with the Architecture Research Group on the development of the Indoor Jacobean Theatre, which is set to open on site in 2013. Peter will advise on reconstruction issues and how they relate to achieving a faithful Jacobean interior, and to ensure that a successful fusion of modern codes and licensing requirements with historical accuracy can be achieved.

Since opening in 1997, Shakespeare’s Globe has become an iconic landmark of international recognition and its distinctive performance space offers audiences and actors an experience like no other. If you would like to speak to Peter McCurdy about the part he played in bringing the building to fruition and his work on the Indoor Jacobean Theatre, please contact the press office.

Interview ideas 1. Dr Farah Karim-Cooper, the Globe’s Head of Research & Courses grew up in Texas, USA. Farah oversees all research activity and chairs the Globe Architecture Research Group, who are currently working on the design brief and historical research of a 320 seat Indoor Jacobean Theatre onsite, set to open in 2013. Farah recently extended Globe Education’s higher education programme to the doctoral level by bringing into the organisation two Collaborative Doctoral Award students, researching theatre space and audiences, both of whom completed in January 2012. She is also a Visiting Research Fellow of King’s College London and co-convenes the Globe/King’s MA in Shakespearean Studies: Text and Playhouse. In addition to publishing articles and essays in books, her first monograph Cosmetics in Shakespearean and Renaissance Drama was published in 2006.

Q&A with Dr Farah Karim-Cooper What are the highlights of your job?

One of the major highlights is being able to work with and share my research with a wide 3

range of audiences: actors, educators, architects as well as students. Another highlight is being involved in the Indoor Theatre project - it is very exciting to sit in the meetings with Globe executives, architects, academics and work collaboratively to re-create another dynamic Shakespearean theatre space.

What has been your most memorable moment working at the Globe?

Every day it is so different and so memorable. But perhaps the most memorable moment was going to the workshop of McCurdy & Co. for the first time, the timber specialists who built the Globe. To see where the Globe was framed and to meet some of the people whose hands brought it to life was inspiring and nothing short of magical.

What are you looking forward to in the future of the Globe?

I'm genuinely looking forward to attending plays in the new Indoor Jacobean Theatre space and seeing the completion of our state-of-the-art Library and Archive.

2. Eva Koch-Schulte, Associate Producer in the Theatre department. Eva was born and raised in Bad Driburg, Germany.

Eva’s fist role at the Globe was as an Education Intern in 1998. After studying her Masters Erlangen-Nuremberg, Germany, she returned to the Globe as Theatre and Music Assistant then Music Producer. Eva is now Associate Producer in the Theatre department.

Q&A with Eva Koch-Schulte Tell us about your role in the Theatre department at Shakespeare’s Globe.

As Associate Producer I am involved in planning and setting up our theatre shows, tours and special events. I spend much time with paperwork like contracts, schedules, budgets and invoices. I also sort out day to day logistics around the shows, particularly for our touring companies. My favourite part of the job is welcoming and hosting the artists and looking after our performers during the season.

What do you enjoy about working at the Globe?

We are a very small, ambitious team and we like to get our hands dirty! The theatre is only one part of the Globe, and it might look like a large institution from the outside, but from the inside it feels like a small, crazy, independent theatre company. All in our management team come from theatre-making backgrounds, so we love to jump in and help our performers and creative artists in practical ways. It makes the work varied and adventurous. We’ll do what it takes – from drafting contracts and solving strategic issues to brewing a vital cup of tea for an exhausted artist, driving replacement props to a touring venue or showing incoming audiences the way to alternative toilets while the main ones are broken (this only happened once!)

Tell us something we don’t know about the Globe.

As a German, I am still flabbergasted by the fact that this busy, inventive theatre runs without government subsidy. It finances itself mostly through the money brought in by its enthusiastic audiences – and bear in mind that many of them only pay £5 per show! We have nothing like this in Germany. Over the years I have noticed that the more famous this theatre becomes, the less people seem to realize or indeed believe that we are surviving without tax money.

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3. Floyd Alexander-Hunt, Globe Education Assistant, was raised in Auckland, New Zealand.

Eighteen year old Floyd is currently working as Globe Education Assistant in Globe Education. In 2010 Floyd, a keen performer, made it through to the final round of the Sheliah Winn Shakespeare Festival in Wellington and won one of just 5 acting awards for her special individual performance of Falstaff in The Merry Wives of Windsor. She went on to win a place to train at Shakespeare’s Globe in London for three weeks in July 2010 as part of the Globe’s summer education programme.

Whilst at the Globe, Floyd heard of the gap year posts that the Globe offers every year, and is now working in the role of Globe Education Assistant. The role includes scheduling, financial administration and liaising with practitioners and students. She said “It’s a great role because I can get super involved in a variety of aspects in education and performance.

It’s a very unique place to work and a unique experience which I’m confident will be beneficial in applications for university, and my future career in theatre. It’s also fun, fastpaced and rewarding – I love to see the performers’ progression and work closely with the talented practitioners and students.”

4. Yolanda Vazquez, actress and learning consultant, was born in San Roque, Cadiz, South Spain.

Yolanda lived in Spain until she was aged 10 and first visited the Globe soon after it opened in 1997. She has performed onstage at the Globe and currently works in Globe Education as a Learning Consultant. She first visited the Globe soon after it opened in 1997 and has performed on stage in The Comedy of Errors (1999), and Two Noble Kinsmen (2000). She studied at the Drama Centre London.

Q&A with Yolanda Vazquez Tell us a little about where you’re from.

I was born in a town called San Roque, in the province of Cadiz, in southern Spain. The gardens at the back of my street looked onto the sea framed by Gibraltar and Africa.

Although a small town, it was always very cosmopolitan, possibly due to the proximity of port towns like Algeciras.

You have performed on the Globe stage many times, tell us about the experience from both an actors and an audience point of view.

As an actor, the Globe is an exhilarating place to work. The immediacy of and connection to the audience is something that you don’t often encounter. As the audience you are pulled in and involved, it’s a visceral experience.

What do you enjoy most about your current role as Learning Consultant?

I enjoy training new practitioners, helping them build their workshops activities and observing them develop their practice. Working with national and international teachers on continual professional development and sharing rehearsal room activities for use in the classroom is always satisfying.

5. Hannah Lobelson, born Sydney, Australia is the Globe’s Wardrobe Manager.

Hannah moved to London in 2004 after studying Fashion at the Fashion Design Studio, The Sydney Institute of Technology in Sydney. Her first job in London was working for director Steven Spielberg on the film Munich. She started at the Globe as Wardrobe Assistant in 2005 and subsequently became Wardrobe Manager. She has also worked for the National 5

Opera House and the Royal Shakespeare Company. This year Hannah will work with designer Jenny Tiramani on Original Practice costumes - a way of creating Elizabethan clothing today using the same materials and techniques that were used in Shakespeare's day - which means no velcro, poppers and sewing machines. They use the same dyes, materials, washing practices and hand sewing techniques that were used in the 1600's.

Hannah will be working with award-winning actor Mark Rylance for our 2012 Theatre season. Mark Rylance will take on two of Shakespeare's major characters - the title role in a new production of Richard III and a reprisal of his widely celebrated performance of Olivia in Twelfth Night, 10 years after its original premiere; both of which will be staged as 'Original Practices' productions.

Q&A with Hannah Lobelson Tell us what you most enjoy about your job.

The aspects that I enjoy most about my job have to be the variety and being surrounded by creative people. No day is the same when you're working with live theatre and my job requires me to be very creative and resourceful and to think and act fast. It is very inspiring working in an environment such as Shakespeare's Globe where you are exposed to great artists every day. Everyone is working towards producing the best they can and high standards are always inspiring. I do feel there is an emphasis placed on the costumes at the Globe by our audience and I enjoy producing work that fulfils or even exceeds those expectations.

Talk us through what you do on a working day at the Globe when a performance takes place.

During the theatre season, Shakespeare's Globe has 13 performances every week which is a large amount of shows for the wardrobe department to support given the size of each show and the array of costumes required for each production. That means there are almost always two performances every day and not necessarily of the same show. We can have up to five different productions being performed in a single week and it is my responsibility to direct the wardrobe department to make sure the costumes are ready for each performance and ensure the costume changes during each performance go ahead as rehearsed. There are a further eight people in my department and they are all highly trained with excellent sewing skills, who understand historical dress and the demands of a busy running wardrobe department. The first thing to do in the morning is the laundry from the show the night before and then any repairs or alterations ready for the next performance. The matinee is at 2pm with actors getting into costume about an hour beforehand so the mornings can be a little rushed getting everything cleaned, dried, ironed, starched, repaired, hung in dressing rooms and then dressed onto the actors ready for the show to start. Once the matinee is up, the wardrobe assistants dressing on that show will be backstage doing all the costume changes. Back in the wardrobe department, the afternoon will be spent getting the evening show ready in the same manner as well as looking ahead to preparing new costumes for productions we have starting over the coming weeks. It is certainly never dull and though there is a definite routine, costume emergencies do occur and of course, the show must go on.

Explain to us the notion of Original Practices.

The term 'Original Practices' in relation to costume, refers to a way of recreating Elizabethan clothing today in as similar a way as possible to the way they were produced during Shakespeare’s lifetime. This was how costumes were produced at Shakespeare’s Globe from 1996 until 2005 under the extraordinary leadership of designer, Jenny Tiramani and her team. Everything was stitched by hand with meticulous attention played even to an actor's undergarments, everything was made using materials and even colours and dyes that could 6

only have existed then. There was no polyester, no zippers, not even hairspray was used and it was a very extraordinary time for our theatre. Today at the Globe, costume is approached in a more modern way, and though we are producing costumes with the silhouette and style of Elizabethan clothing, they are made using a sewing machine, with manmade fabrics and modern fastenings. Each approach is entirely valid and has much to offer the performer and audience. I am only privileged and grateful to have been exposed to both methods and so now I can combine them to give the best outcome for our costumes and our productions.

How often do you visit home in Australia?

I have been fortunate in being able to return to Australia around once a year since I left Sydney in 2004. It is certainly still home to both my husband and I, and I miss so much about being there. I think it best not to compare Sydney and London as they are so very different. You need to just appreciate each one for the extraordinary things it has to offer and not see the contrast as a shortcoming. Sydney has beautiful things that London never will have and London has fascinating things that Sydney can’t offer. I am happy to be able to experience both cities in such a rewarding way.

6. Tom Bird, Director of the Globe to Globe Festival.

In producing the Globe to Globe Festival, Tom has travelled the world from Armenia to Zanzibar in search of Shakespeare. He has worked for the Globe since 2007. Previous employment includes work for the ground-breaking physical theatre festival Aurora Nova at Edinburgh and for a number of music groups, most notably the Northern Sinfonia. Tom's roots are in the north-east, and as a playwright he is a regular contributor to Live Theatre's Short Cuts events in Newcastle. His short play Kaz and the Coots was recorded for the BBC Radio 3 Free Thinking Festival in 2009. He was educated at the universities of Edinburgh and Copenhagen. For a list of countries and languages involved in the Globe to Globe Festival please visit http://globetoglobe.shakespearesglobe.com/ 7. Dominic Dromgoole, Artistic Director.

Dominic Dromgoole was appointed Artistic Director of Shakespeare's Globe in 2006. Since 2006 the Globe has increased its diet of new work, has begun a small scale touring operation, which now travels all over the UK and Europe, has done two large scale tours of North America and its first across England, has initiated winter performances, and has filmed many of its productions for distribution in cinemas and DVD. Dominic has directed Shakespeare's Hamlet (2011), Henry IV Parts 1 and 2 (2010), Love's Labour's Lost (2007 and 2009), Romeo and Juliet (2009), King Lear (2008), Coriolanus and Antony and Cleopatra (both 2006) for Shakespeare's Globe as well as Trevor Griffiths' new play A New World (2009). He was Artistic Director of the Oxford Stage Company, 1999-2005, and the Bush Theatre 1990-96, and Director of New Plays for the Peter Hall Company in 1996/7. In addition Dominic has directed at the Tricycle Theatre, in the West-End, and in America and Romania. He has written two books The Full Room (Methuen 2001) and Will and Me (Penguin 2006), has had a column in the New Statesman and The Guardian, and has written extensively for many journals, most often the Sunday Times.

8. Patrick Spottiswoode, Director, Globe Education.

Patrick has recently spent three months in Berlin and has extensive knowledge of the Globe and Shakespeare’s relationship with Germany.

Patrick Spottiswoode joined Shakespeare's Globe in 1984 and became founding Director, Globe Education in 1989. He has initiated exciting and innovative programmes, including in 2010 a special season, Shakespeare is German, which saw the launch of a book of translations, Goethe on Shakespeare, which Patrick commissioned.

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Other initiatives include a 30 year project to stage readings and record all surviving plays by Shakespeare's contemporaries; establishing the Globe’s first MA in Shakespeare Studies jointly with King’s College London; and a two year programme of events celebrating Shakespeare and Islam.

Last year, Patrick received an Honorary PhD from Warwick University and an Honorary Fellowship from King's College London. He is currently the President of the Shakespeare Theatre Association.

9. Neil Constable, Chief Executive.

Neil Constable joined Shakespeare’s Globe as Chief Executive in October 2010. Neil was Executive Director of the Almeida Theatre since March 2003, joining just before the successful re-opening after a major £5.5million capital redevelopment. Before joining the Almeida, he worked for the Royal Shakespeare Company for 16-years, including holding senior management positions of London Manager at the Barbican Centre and General Administrator. He is also a Governor of the Guildhall School of Music and Drama, Member of the Society of London Theatre, a Director of Propeller Theatre Company and Honorary Advisor to the Yorke Trust.

10. Speak to Rawiri Paratene from New Zealand about his relationship with Shakespeare’s Globe.

Star of the film Whale Rider, Rawiri Paratene will play Pandarus in a unique Māori translation of Troilus & Cressida at Shakespeare’s Globe on the 23rd and 24th April 2012.

The first Māori actor to perform in the summer season at Shakespeare’s Globe, as Friar Lawrence in the 2009 production of Romeo and Juliet, Paratene will return to the Globe to take the part of Pandarus. He will also co-produce. Rawiri took park in Globe Education’s International Actors Fellowship in 2007.

Perhaps best known for his role as Koro (the Grandfather) in Whale Rider, Paratene has enjoyed a varied career as an actor, writer, director and producer in theatre, television, radio and film.

11. Speak to actress Kate Duchêne about her love for performing at Shakespeare’s Globe.

Actress Kate Duchêne played Katherine of Aragon in Shakespeare’s rarely performed Henry VIII in 2010 at the Globe. Kate was born in London but moved to France when she was only 3 weeks old. She read French and Spanish at Trinity College, Cambridge University, she has also appeared onstage for the Royal Shakespeare Company and the National Theatre.

12. Peter McCurdy, Master Craftsman of Shakespeare’s Globe.

McCurdy & Co. were closely involved in the authentic reconstruction of Shakespeare's original 'wooden O', carrying out much of the early research and analysis together with the detailed design and fabrication of the entire oak frame. As there were no building records in existence the Globe team had to rely on historic reference material, Peter McCurdy's own knowledge of carpentry methodology of the period and analysis of the relevant contemporary buildings to help determine the overall design.

Peter is currently working with the Architecture Research Group on the development of the Indoor Jacobean Theatre, which is set to open on site in 2013. Peter will advise on reconstruction issues and how they relate to achieving a faithful Jacobean interior, and to ensure that a successful fusion of modern codes and licensing requirements with historical accuracy can be achieved.

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Since opening in 1997, Shakespeare’s Globe has become an iconic landmark of international recognition and its distinctive performance space offers audiences and actors an experience like no other. If you would like to speak to Peter McCurdy about the part he played in bringing the building to fruition and his work on the Indoor Jacobean Theatre, please contact the press office.

13. Speak to top Chef Eric Bellancourt about The Swan.

Eric was born and raised in Paris and has worked at The Swan bar and restaurant for four years. After training for five years at Ceproc, Eric worked at Clin d’oeil gourmand (Arpajon), Pavillon ledoyen (Paris), Bistroquest Au Limo (Ashiya, Japan) and Le Parisian (Henley on Thames, UK). Eric’s first role at The Swan was as Events Chef and then Pastry Chef. He now prepares the cuisine served on the famous Globe piazza, at the coffee shop and the recently opened Sackler Studios.

The Swan bar and restaurant is located on Bankside at Shakespeare’s Globe, close to Borough Market, Southbank, London Bridge and The City. With stunning views of the River Thames, the bar and restaurant are elegant and comfortable spaces to enjoy breakfast, a light lunch, afternoon tea, an evening meal or sip cocktails all year. The menus reflect The Swan’s signature modern British style with seasonal produce from local markets with favourites including Whitstable oysters and sirloin steaks.

Eric enjoys his role as Chef at The Swan, which provides him with the opportunity to work with fresh produce and locally sourced ingredients. He says the views of the River Thames and St Paul’s Cathedral, along with the team who work in the kitchen make it a special place to work. Eric travels home to France every few months.

Neil Constable Photo by Simon Kane

Dominic Dromgoole Photo by Bronwen Sharp

Patrick Spottiswoode D Photo by Manuel Harlen

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Dr Farah Karim-Cooper Photo by Bronwen Sharp

Tom Bird Photo by Bronwen Sharp

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Further information on feature and interview ideas and extensive background information on Shakespeare’s Globe can be found at http://www.shakespearesglobe.com/aboutus/press/releases Photographs and HD footage of the Globe and performances are available free of charge for editorial use at http://press.shakespearesglobe.com/ To arrange an interview or for any other information please contact Louise Gilbert, Press & PR Officer 2012, Louise.g@shakespearesglobe.com, +44 (0)207 902 1476.

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Press Team Julia Hallawell Press and PR Manager Telephone: +44 (0)20 7902 1491 Email: Julia.h@shakespearesglobe.com Rebecca Storey Senior Press and PR Officer Telephone: +44 (0)20 7902 1492 Email: Rebecca.s@shakespearesglobe.com Louise Gilbert Press and PR Officer, 2012 Telephone: +44 (0)20 7902 1476 Email: Louise.g@shakespearesglobe.com Eleanor Lovegrove Press and PR Officer - Globe Education Telephone: +44 (0)20 7902 1468 Email: Eleanor.l@shakespearesglobe.com

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