King Lear’s tempestuous poetry is shot through with touches of humour and moments of heart-rending simplicity, as the notion of familial love is questioned and torn apart. Best known as Artistic Director of Shared Experience for 22 years and with numerous credits including the RSC and National Theatre, Nancy Meckler brings her charismatic style to the Globe for the first time.
The Liar by Pierre Corneille, translated by Richard Wilbur. Directed by Martin Jarvis.
In this classic farce, a young man pretends to be a war hero to impress a pretty girl. As his lies progress, so do his troubles – with hilarious results. Playwright Pierre Corneille’s comedy of manners is considered a groundbreaking work which influenced contemporaries such as the young Molière.
An L.A. Theatre Works full-cast production, starring Tara Lynne Barr, Janine Barris, Sue Cremin, Danny Mann, Christopher Neame, John Sloan, Mark Sullivan, and Matthew Wolf
Includes a conversation about Corneille and French drama with Larry F. Norman of the University of Chicago.
Lead funding for this production is provided by the Sidney E. Frank Foundation.
Featuring: Tara Barr, Janine Barris, Sue Cremin, Danny Mann, Christopher Neame, John Sloan, Mark Sullivan, Matthew Wolf
Infamously known as the cursed Scottish play, Macbeth is perhaps Shakespeare’s darkest tragedy. When General Macbeth is foretold by three witches that he will one day be King of Scotland, Lady Macbeth convinces him to get rid of anyone who could stand in his way – including committing regicide. As Macbeth ascends to the throne through bloody murder, he becomes a tyrant consumed by fear and paranoia.
An L.A. Theatre Works full-cast performance featuring: James Marsters as Macbeth Joanne Whalley as Lady Macbeth Josh Cooke as Banquo and others JD Cullum as Macduff and Second Murderer Dan Donohue as Ross Jeannie Elias as Second Witch and others Chuma Gault as Lennox and Servant Jon Matthews as Malcolm Alan Shearman as Angus and others André Sogliuzzo as Donalbain, Third Witch and others Kate Steele as Lady Macduff, First Witch and Apparition Kris Tabori as Duncan and others Directed by Martin Jarvis. Sound effects by Tony Palermo. Recorded at the Invisible Studios, West Hollywood.
Featuring: Josh Cooke, JD Cullum, Dan Donohue, Jeannie Elias, Chuma Gault, James Marsters, Jon Matthews, Alan Shearman, André Sogliuzzo, Kate Steele, Kris Tabori, Joanne Whalley
‘The Scottish Play’ is Shakespeare’s shortest tragedy, but its characters are some of the most memorable in his oeuvre: the misguided Macbeth, the ruthless Lady Macbeth and the otherworldly Weird Sisters are recognisable as classic Shakespearean roles. Saturated with blood and despair, the tragedy of Macbeth is a concentrated study of guilt and ambition inflamed by the supernatural. The protagonists’ visceral soliloquies are much prized as revelations of desperate and harrowed psychology, and as Shakespearean reflections on the multifaceted nature of good and evil.
On their return from battle, Macbeth and Banquo encounter three witches, who prophesise both Macbeth’s rise to the Scottish crown, and that of Banquo’s ancestors (including the monarch at Shakespeare’s time of writing, James I and VI of England and Scotland). Lady Macbeth persuades her husband to murder the current king of Scotland, Duncan, and as the dead king’s sons flee the country, Macbeth continues on a murderous and paranoid rampage, removing anyone who threatens his vision of a lengthy rule.
Desperate to know more, Macbeth revisits the witches, who warn him to beware Macduff and tell him that his life will remain unthreatened until Birnam wood comes to Dunsinane. They say that he is safe from any man ‘of woman born’. Meanwhile, Macduff and Malcolm join together in England to raise an army against Macbeth. Their army carries branches from the trees of Birnham wood towards Dunsinane to disguise themselves – thus fulfilling part of the witches’ prophecy. Before the armies meet, Macbeth receives word that Lady Macbeth, having lost her mind, is dead. The armies meet: Macbeth fights with Macduff, discovering in the course of the action that he was delivered by Caesarean section, and is therefore not ‘of woman’. Macduff kills Macbeth, and Malcolm is made king.
Witchcraft was a real and frightening concern in Shakespeare’s England. King James I was himself fascinated by and fearful of witches, and had even published a book, Daemonologie, in 1597, advocating witch-hunts. Criticism of the play has frequently noted, however, that it is not the Weird Sisters who force Macbeth’s hand; they merely prophesise events, and have no physical effect. This leaves us with troubling and unanswerable questions about free will, and how and why good people can be led down dark and evil paths – how ‘Things bad begun make strong themselves by ill.’
Macbeth first appears in the 1623 Folio, though its date of composition is usually agreed at 1606: several plays appear around that date (including Beaumont and Fletcher’s The Knight of the Burning Pestle (1607)) which make reference to and/or parody the appearance of Banquo’s ghost. Simon Forman, a doctor and diarist from Salisbury, records seeing ‘Mackbeth at the Glob’ in 1611. The Folio text is thought to be taken from a prompt book, due to its many stage directions. Shakespeare’s play takes the entries for Duncan, Macbeth and Banquo in Holinshed’s Chronicles (1587) as its source matter, although it plays with these historical narratives to a great extent. Several of the witches’ scenes and songs, and the introduction of the queen of the witches, Hecate, have been credited to another playwright, Thomas Middleton, as they also feature in his later tragicomedy The Witch, produced by the King’s Men in the later 1610s. It is thought that these extracts were inserted around 1618.
When three witches tell Macbeth that he is destined to occupy the throne of Scotland, he and his wife choose to become the instruments of their fate and to kill the first man standing in their path, the virtuous King Duncan. Stage director: Eve Best. Screen director: Sue Judd. Featuring: Samantha Spiro, Joseph Millson, Bette Bourne, Phil Cumbus, Finty Williams, Jess Murphy, Moyo Akande, Cat Simmons, Geoff Aymer, Stuart Bowman, Jonathan Chambers, Gawn Grainger, Harry Hepple, Billy Boyd, Colin Ryan, Marc Borthwick, Ed Pinker.
Age recommendation: 12+
A new version by Justin Audibert and the company.
Originally staged as part of the National Theatre’s Shakespeare for younger audiences programme. This archival recording was captured in 2017.
Amid bloody rebellion and the deafening drums of war, Macbeth and his wife will stop at nothing to fulfil their ambition. Witchcraft, murder, treason and treachery are all at play in this murky world.
A bold contemporary retelling of one of Shakespeare’s darkest plays.
For teacher resources, visit this page.
Lady Macbeth: Madeline Appiah
Macbeth: Nana Amoo-Gottfried
Duncan: Ashley Gerlach
Banquo: Kayla Meikle
Malcolm: Ronak Patani
Ross: Sharan Phull
Macduff: Jay Saighal
Lady Macduff: Tripti Tripuraneni
All other characters are played by members of the Company
Director: Justin Audibert
Adaptor: Justin Audibert and the Company
Designer: Lucy Sierra
Lighting Designer: Paul Knott
Composer and MD: Jonathan Girling
Sound Designer: Mike Winship
Fight Director: Kev McCurdy
Filmed live in the Royal Shakespeare Theatre in April 2018
“Something wicked this way comes...”
Returning home from battle, the victorious Macbeth meets three witches on the heath. Driven by their disturbing prophecies, he sets out on the path to murder.
This contemporary production of Shakespeare’s darkest psychological thriller marks both Christopher Eccleston’s RSC debut and the return of Niamh Cusack to the Company.
For teacher resources, visit this page.
Duncan / Scottish Force: David Acton
Security Guard / Aide / Murderer / Young Siward / Lord: Afolabi Alli
Donalbain / Aide / Lade: Donna Banya
Bloody Captain / Murderer / Scottish Force: Stevie Basaula
Macduff: Edward Bennett
Doctor / Lady: Katy Brittain
Aide / English Force: Raif Clarke
Lady Macbeth: Niamh Cusack
Chamberlain / Siward: Paul Dodds
Macbeth: Christopher Eccleston
Aide: Josh Finan
Ross: Bally Gill
Lady Macduff / Lady / Scottish Force: Mariam Haque
Witch: Eve Hatz
Witch: Lauren Heaps
Witch: Elizabeth Kaleniuk
Witch: Aleksandra Penlington
Witch: Phoebe Stephens
Witch: Abigail Walter
Porter: Michael Hodgson
Murderer / Chamberlain / Scottish Force: John Macaulay
Fleance: Hector Magraw
Malcolm: Luke Newbery
Lennox: Tim SamuelsBanquo / English Force: Raphael Sowole
Young Macduff: Joshua Vaughan
Stage Director: Polly Findlay
Designer: Fly Davis
Incidental Music: Rupert Cross
TV Director: Robin Lough
In a city swamped by impotent law and sexual decadence, Shakespeare reveals repressed desire, skewed hypocrisy and arbitrary justice. His only play to be set in Vienna, Measure for Measure has, along with Troilus and Cressida and All’s Well That Ends Well, been labelled a ‘problem play’, although in its first appearance in print in the 1623 First Folio, it is listed under the ‘Comedies’. Using conventional literary and dramatic devices such as the bed trick and the disguised ruler (whose humanist piety some critics have seen as a direct nod to the newly crowned James I), the play’s main source lies in the Italian writer Cinthio’s prose Hecatommithi (1565) (whence Shakespeare had also drawn the inspiration for Othello). Shakespeare reworks Cinthio’s tragic ending of rape and execution so that his play ends, as is usual for a comedy, in multiple marriages.
The Duke of Vienna lends his power to the uncompromising Angelo and pretends to leave the city, but remains disguised as a friar. Angelo begins to enforce the city’s neglected laws, and condemns Claudio to death for getting Juliet pregnant out of wedlock. Claudio’s sister Isabella, who is about to become a nun, begs Angelo for mercy, but he falls in love with her. He offers her a bargain: Claudio will be released if Isabella sleeps with Angelo. Isabella will not consent, even when her brother encourages her.
The Duke, who was visiting Claudio in prison still disguised as a friar, overhears Isabella talking to Claudio. He suggests they trick Angelo into thinking that he is sleeping with Isabella, but he will really be sleeping with Marianna, his ex-fiancée whom he abandoned.
Their trick is successful but Angelo does not pardon Claudio: he is still to be executed, and his head sent to Angelo. The Duke intervenes, and gets the Provost to agree to send another prisoner’s head instead – initially Barnadine’s, but then Ragozine’s when Barnardine refuses to be executed.
The Duke ‘returns’ to the city as himself. Isabella, not recognising him as the Friar who helped her, begs him for justice. The Duke pretends to dismiss her. Mariana arrives as a witness. The Duke re-enters as the Friar. When he reveals himself, Angelo confesses and the Duke orders him to marry Mariana then condemns him to death: Angelo is pardoned when Mariana pleads for him. Claudio is revealed to be alive. The Duke proposes to Isabella.
The first record of performance for Measure for Measure was at the Banqueting Hall, Whitehall, on 26th December 1604, though it was probably composed and performed earlier that year. The play’s exploration of illicit sexuality led to it being underperformed or bowdlerised throughout the centuries that followed its publication; at the start of the twentieth century, critics and practitioners ‘uncovered’ the play’s emphasis on grace and divine atonement.
A modern dress version directed by David Thacker with Corin Redgrave as Angelo and Juliet Aubrey as Isabella. Modern themes are explored in an age-old play as William Shakespeare explores the darker side of society. Sexually transmitted disease is reaching epidemic proportions. Prostitution, licentiousness and petty crime are on the increase and a new government reintroduces capital punishment for sexual offences.
Director: David Thacker; Adapted by: David Thacker; Producer: Peter Cregeen; Starring: Tom Wilkinson, Juliet Aubrey, Corin Redgrave, Sue Johnstone.
Distributed under licence from Educational Publishers LLP
Injustice, hypocrisy and the challenge of inflexible virtue combine in Measure for Measure, Shakespeare’s most searching exploration of sexual politics and social justice.