London NewsThe Taming of The Shrew Opens at Shakespeare’s Globe February 6The London production will use a rotating cast of performers throughout the run.
By
Dan Meyer
February 06, 2020
Michelle Terry in rehearsals with Peter Northcote in The Taming of the Shrew.
Johan Person
The Shakespeare’s Globe production of The Taming of the Shrew opens February 6 at the Sam Wanamaker Playhouse with a cast of performers rotating parts throughout the run.
Olivier winner and Globe Artistic Director Michelle Terry (Tribes) leads the company with Raymond Anum, Ryan Ellsworth, Mattia Mariotti, Evelyn Miller, James Northcote, Jude Owusu, Paul Ready, and Melissa Riggall rounding out the ensemble.
Directed by Maria Gaitanidi, The Bard’s comedy follows two sisters as they are courted for marriage: strong-willed and reluctant Katharina and eager and romantic Bianca. The trouble is, Bianca can only get married once Katharina finds her own suitor.
The Taming of the Shrew features costume and set designs by Liam Bunster with music composed by Laura Moody and Vasilis Sarikis.
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How to Create Shakespeare’s Globe Using Shipping Containers
How to Create Shakespeare’s Globe Using Shipping Containers
11 PHOTOS
The Container Globe
Angus Vail, creator of the Container Globe, envisions a theatre that could be erected and replicated in any port city in the world. His design is based on Shakespeare’s 1599 Globe playhouse and constructed from shipping containers.
Given to Playbill by Angus Vail, these artistic renderings show how the theatre is constructed out of pre-existing materials. An outer layer of scaffolding takes audiences to any level of the three-tiered house.
The audience sits in three rings of galleries, looking down on the stage. Fitted with seating, these open containers act as the skeleton of the Container Globe.
The Shakespearean stage thrusts into the middle of the arena, with an audience watching on three sides. Both the stage platform and the backstage area are assembled from a second, larger set of containers.
The soul of the Globe, no matter what era, is the crowd standing in its yard. As much as the open sky above, the ‘groundlings’ (as Shakespeare once called them) give the theatre its unruly, populist atmosphere.
By combining modern materials and Elizabethan design, Angus Vail believes that the Container Globe isn’t just a good venue for Shakespearean drama. He envisions everything from rock concerts to modern dance fitting in its aesthetic.
This diagram, from Nick Leahy at Perkins Eastman, shows how the three layers of the Container Globe fit together. The completed Globe (bottom) consists of a core set of containers (third ring), with staircases around it (second ring), and a masking façade (top ring).
Early in the concept phase, Angus Vail used toys to mock up a rough version of the Container Globe. At the center, he placed a model of Shakespeare’s Globe for inspiration. The cat stands where the stage would go.
This diagram illustrates how the containers fit together to make the theatre’s core. In spirit and design, the Container Globe adheres to the structure of playhouses used during Shakespeare’s era.
Consulting with Perkins Eastman and Arup, Angus Vail has added a translucent façade to the Container Globe. This masking muffles noise from outside the theatre, enhances the Tudor-derived aesthetic, and makes a beguiling sight in an urban environment.
