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Post by zahidf on Oct 25, 2016 9:25:48 GMT
New season
'We’re delighted to announce Emma Rice’s 2017 summer season, the Summer of Love, marking the 50th anniversary of the summer of 1967. The season opens on 22 April, with Romeo and Juliet, followed by Jessica Swale’s Nell Gwynn, Twelfth Night, Kneehigh’s Tristan & Yseult, Much Ado About Nothing, King Lear, and the world premiere of Tristan Bernays’ Boudica.' |
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Post by zahidf on Oct 25, 2016 9:26:18 GMT
'The Shakespeare Globe Trust Board together with Artistic Director, Emma Rice, have determined that the current nature of work, which has characterised the period since Emma assumed the position of Artistic Director in April 2016, will conclude in April 2018, when Emma will be leaving the Globe following its 2017/18 Winter Season. '
'Neil Constable, CEO, Shakespeare’s Globe, said:
“Emma’s mould-breaking work has brought our theatre new and diverse audiences, won huge creative and critical acclaim, and achieved exceptionally strong box office returns. In breaking the mould, this latest season has generated productive debate concerning the purpose and theatrical practice of the Globe, in relation to the use of sound and lighting technology within our theatre spaces. Following much deliberation and discussion, the Globe Board has concluded that from April 2018, the theatre programming should be structured around ‘shared light’ productions without designed sound and light rigging, which characterised a large body of The Globe’s work prior to Emma’s appointment.
The Globe was reconstructed as a radical experiment to explore the conditions within which Shakespeare and his contemporaries worked, and we believe this should continue to be the central tenet of our work. Whilst the realisation of Emma’s vision has been a vital part of our continuing experimentation as a theatre, we have now concluded that a predominant use of contemporary sound and lighting technology will not enable us to optimise further experimentation in our unique theatre spaces and the playing conditions which they offer.
As Emma has already so brilliantly and inventively demonstrated, the Globe remains committed to delighting audiences and engaging them in both Shakespeare’s work and the playhouse for which he wrote. We all look forward to Emma’s forthcoming visionary programmes, which are certain to thrill and surprise audiences, as they have to date.”
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Post by Deleted on Oct 25, 2016 9:37:57 GMT
Blimey. Must be the first time an AD has resigned due to a row over light rigging.
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1,013 posts
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Post by talkstageytome on Oct 25, 2016 9:40:12 GMT
Shocking news. It's a shame they seem so resistant to change, but then The Globe are usually known for traditional staging aren't they.
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Post by PalelyLaura on Oct 25, 2016 9:43:36 GMT
I'm actually really glad.
"The Globe was reconstructed as a radical experiment to explore the conditions within which Shakespeare and his contemporaries worked, and we believe this should continue to be the central tenet of our work."
I completely agree. There is definitely a place for modern Shakespeare with 21st century lighting and sound - the Globe isn't it.
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831 posts
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Post by rumbledoll on Oct 25, 2016 9:52:30 GMT
Oh YES! I can't put into words how happy I am at the moment!
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Post by Deleted on Oct 25, 2016 9:52:54 GMT
Yes, I agree too. I like modern / radical shakespeare, and I like the Globe, but not at the same time  Doesn't sound to me like she resigned. I'd love to see what Lucy Bailey could do as AD - her Titus for instance showed how to experiment wildly with the place while keeping within the basic parameters. |
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Post by theatremad on Oct 25, 2016 10:01:27 GMT
After 2 seasons that overall left me cold and uninterested in going to see a single show (this year and next summmer just announced I'm guiltily glad she's going. Can't comment on lighting and sound decisions though but from what I've heard seem justified. Only season that made me remotely wake up was the Wonder Noir.
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Post by Deleted on Oct 25, 2016 10:01:39 GMT
Boooo! Boring old Globe farts with their ruffs and doublets and their "traditional" (read, identikit) productions.
You were too good for 'em Emma!
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1,119 posts
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Post by martin1965 on Oct 25, 2016 10:06:54 GMT
This is hardly shocking news, she was a frankly ridiculous appointment to begin with! Oddly enough next year's season looks interesting for the first time in a while.
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Post by Deleted on Oct 25, 2016 10:14:22 GMT
Making this announcement at the same time as announcing the new season is crazy - presume all the press coverage will focus on Rice going not on the new season. Why not leave it a few weeks?
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923 posts
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Post by Snciole on Oct 25, 2016 10:15:29 GMT
I can't see anything in Emma's previous work that wasn't going to lead to the Globe going in her direction. It was a ridiculous appointment and I honestly don't think she was the problem. She was given a job that basically was "Do what you like" and she did. Her season has left me cold, I hope it goes back to traditional staging in an unique space but crucially the amount of comps available (Seated!) for Imogen was absolutely shocking. As I have said elsewhere (perhaps here) you can always rely on the yard crowd paying £5 as they are tourists (though they must have found some productions baffling), if you lose the ones willing to pay top dollar you are screwed. I suspect this is about loss of money rather than artistic vision and I think it will go back to how it was, even before she heads off.
I wish her best in a theatre more suited to her style. She has interesting ideas but they just weren't right for the Globe.
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Post by Deleted on Oct 25, 2016 10:24:50 GMT
It's not like she was a completely unknown quantity before she was appointed to the position. The board knew from her previous work what sort of thing she does, the board knew from interviewing her what she planned to achieve, the board knew all this and decided to appoint her in the position. However you feel about her work, I think it's disgusting behaviour of the board to throw her under a bus so quickly instead of standing by *their* decision.
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Post by Deleted on Oct 25, 2016 10:29:57 GMT
It's not like she was a completely unknown quantity before she was appointed to the position. The board knew from her previous work what sort of thing she does, the board knew from interviewing her what she planned to achieve, and the board decided to appoint her in the position anyway. However you feel about her work, I think it's disgusting behaviour of the board to throw her under a bus so quickly instead of standing by *their* decision. This. As a Board Member for an admittedly far smaller theatre company, I find this shocking behaviour by the board and highly unprofessional. They appointed her knowing who she was and what her approach was-it's not like she hid her previous work or who she is (nor could she!). They made the choice to appoint her, and to essentially throw her out in this manner is not what a board should be doing.
I'm personally disappointed I didn't see her work, simply to make a decision for myself. I can see both sides of the argument for her work at the Globe in theory, but sadly won't get a chance to test out my own taste. My personal opinion though is that a bit of a shake up was good for the Globe, not saying all I want to see there is Rice style productions but I also don't think it was the disaster some people thought. (But I say that as I say without managing to see anything in her now too short tenure)
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Post by Deleted on Oct 25, 2016 10:31:19 GMT
I can't see anything in Emma's previous work that wasn't going to lead to the Globe going in her direction. It was a ridiculous appointment and I honestly don't think she was the problem. She was given a job that basically was "Do what you like" and she did. Her season has left me cold, I hope it goes back to traditional staging in an unique space but crucially the amount of comps available (Seated!) for Imogen was absolutely shocking. As I have said elsewhere (perhaps here) you can always rely on the yard crowd paying £5 as they are tourists (though they must have found some productions baffling), if you lose the ones willing to pay top dollar you are screwed. I suspect this is about loss of money rather than artistic vision and I think it will go back to how it was, even before she heads off. I wish her best in a theatre more suited to her style. She has interesting ideas but they just weren't right for the Globe. Somewhere further down the river, Rufus Norris goes a bit cold...! |
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Post by martin1965 on Oct 25, 2016 10:36:42 GMT
My thoughts exactly Abby!!
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Post by Deleted on Oct 25, 2016 10:39:12 GMT
It's not like she was a completely unknown quantity before she was appointed to the position. The board knew from her previous work what sort of thing she does, the board knew from interviewing her what she planned to achieve, the board knew all this and decided to appoint her in the position. However you feel about her work, I think it's disgusting behaviour of the board to throw her under a bus so quickly instead of standing by *their* decision. This. I hope that after Emma goes, the Board are left with one more dull 'Macbeth' or 'The Tempest' or 'As You Like It' after another to serve 'em right. But hey, at least they'll all be traditional productions to please the usual Globe geriatrics who can't tell one production from another because THEY ALL LOOK THE SAME so that's all that matters. Sue 'em Emma. Then pee all over them and sue 'em again!  |
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Post by lynette on Oct 25, 2016 10:43:10 GMT
I didn't go this year, didn't fancy anything. Did go to Sam W and loved what they have been doing, have booked ahead for their winter season. Was v concerned about the way Globe was going from what I read and saw on t'internet.
But despite my misgivings about Ms Rice's approach I do feel she has been shafted here. Why not let her announce her own departure after the Spring say when bookings for summer '17 are in and she can resign from a strong standpoint? Not nice to see someone in the arts treated poorly. ( or anyone anywhere, but here we are talking theatre)
The summer '17 season does look good.....unless we are to expect all the sexes reversed or changed. I'm not agin experimentation but if you want a play about two men chasing each other through the woods outside Athens then write it. Deal with a play already written as it is. ( she ducks for cover behind the sofa..)
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2,496 posts
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Post by zahidf on Oct 25, 2016 10:45:28 GMT
It's not like she was a completely unknown quantity before she was appointed to the position. The board knew from her previous work what sort of thing she does, the board knew from interviewing her what she planned to achieve, the board knew all this and decided to appoint her in the position. However you feel about her work, I think it's disgusting behaviour of the board to throw her under a bus so quickly instead of standing by *their* decision. This. I hope that after Emma goes, the Board are left with one more dull 'Macbeth' or 'The Tempest' or 'As You Like It' after another to serve 'em right. But hey, at least they'll all be traditional productions to please the usual Globe geriatrics who can't tell one production from another because THEY ALL LOOK THE SAME so that's all that matters. Sue 'em Emma. Then pee all over them and sue 'em again! yeah, it seems ridiculous. A couple of plays did average business, but stuff like 946 and Midsummer seemed to be big hits. And they approved of her using lights in the first place. Way too soon to give up on it, esp after the generally good press for her ideas. |
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Post by cirque on Oct 25, 2016 10:47:53 GMT
I think the board have responded to the negatives without seeing the long term potential as audiences and Emma Rice found a new way to develop the work.I hope Emma returns to Kneehigh and I hope the Globe will continue to experiment.Fear is a terrible force in theatre...this was an experiment that raised the roof with sheer joy this summer and brought new audiences.Was it really too much for sound and lighting....? Was it really too much to switch genders a little..? Globe was and will continue as major UK focus for Shakespeare and his contemporaries but I fear that new AD will have hands tied even before first interviews.
This seems to me a plot,engineered by some members who cannot trust ideas and vision.
It is sad news and I feel sorry for Emma who was on the cusp of change.
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Post by Deleted on Oct 25, 2016 10:48:34 GMT
Does seem odd to give up so soon, as other than Imogen, the season seemed to do well commercially. Wonder if an attempt was made to find a compromise between her approach and the board's views? I guess we will never know.
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Post by lynette on Oct 25, 2016 10:51:34 GMT
Does seem odd to give up so soon, as other than Imogen, the season seemed to do well commercially. Wonder if an attempt was made to find a compromise between her approach and the board's views? I guess we will never know. Oooo, fly on the wall moment. Trust me, we will know. If the Sundays don't reveal down the line, she will in the memoirs, if not before. |
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Post by kathryn on Oct 25, 2016 10:57:54 GMT
I suspect the board was initially split on her appointment, and the negative response to her approach - particularly from some of the Friends who were large donors - has swayed some board members' opinions.
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Post by Snciole on Oct 25, 2016 11:02:34 GMT
I can't see anything in Emma's previous work that wasn't going to lead to the Globe going in her direction. It was a ridiculous appointment and I honestly don't think she was the problem. She was given a job that basically was "Do what you like" and she did. Her season has left me cold, I hope it goes back to traditional staging in an unique space but crucially the amount of comps available (Seated!) for Imogen was absolutely shocking. As I have said elsewhere (perhaps here) you can always rely on the yard crowd paying £5 as they are tourists (though they must have found some productions baffling), if you lose the ones willing to pay top dollar you are screwed. I suspect this is about loss of money rather than artistic vision and I think it will go back to how it was, even before she heads off. I wish her best in a theatre more suited to her style. She has interesting ideas but they just weren't right for the Globe. Somewhere further down the river, Rufus Norris goes a bit cold...! Funnily enough I wrote a blog ages ago but how awful Rufus' reign of terror has been. I am surprised the Globe put their foot down on Rice before the National board did on Norris but Amadeus was looking pretty full. viewfromthecheapseat.com/2016/04/15/how-do-you-solve-a-problem-like-the-national-theatre/ |
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Post by Deleted on Oct 25, 2016 11:02:37 GMT
There is a particularly reactionary element within the Globe hierarchy, unable to see far past the original performance practice idea, it appears as though their small but loud grouping has won and Rice just doesn't need the Globe if it's going to be a continuous battle with them.
Now, in one fell swoop they've made the job into a poisoned chalice (appropriately Shakespearean), a new person will have to satisfy the conservatives who think they've got their theatre back, the new audience who don't realise they've lost theirs and a press who, having been broadly supportive of Rice, will now expect much greater things from a successor as justification for the change.
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